HISTORY OF KASHIMA SHIN RYUKashima-Shinryû (i.e., the "Kashima Spiritual Style") began in the Asuka Era (ca. 645) when Kuninazu no Mahito, a priestly celebrant of the Kashima Grand Shrine, attained a revelation from the August Deity of Kashima (Takemikazuchi no Mikoto). This revelation enabled him to transform "the Sword of Kashima" (Kashima no Tachi) from a religious ceremony that uses a sword for spiritual purification (harai tachi) into advanced techniques for human combat. The Kashima-Shinryû Menkyo Kaiden no Maki (scroll) handed down in the Shihanke Lineage (the oldest version of which dates to the hand of Kunii Taizen Minamoto no Ritsuzan, ca. 1780s) describes this crucial event in the history of Japanese warrior arts as follows: "Kashima-Shinryû begins with the ancient traditions of 'the Sword of Kashima' (Kashima no Tachi) at the Kashima Jingû Grand Shrine. One thousand two hundred years ago Kuninazu no Mahito, a priestly celebrant at the shrine, devised these sword techniques and taught them to the world..." The book Tôgoku Meisho Zue: Kashima Shi (Gazetteer of Kashima, the Renown Shrine in Eastern Japan), written in 1833 by a celebrant at the Kashima Grand Shrine named HÔJÔTokichika (1802-1877), provides strong historical evidence for the existence of this tradition. It explains that the "Futsu no Mitama no Kata" (i.e., the revelation received by Kuninazu no Mahito) consist of what is more commonly known as "Shinmyôken no Kata": divinely-inspired marvelous fencing technique. The precise details of this art have been taught exclusively within the orthodox main lineage of the Kashima Spiritual Transmission (Kashima Shinden; regarding which, see: TÔ Minoru, Kashima Jingû, Gakuseisha, 1968). Therein it constitutes the highest level of secret initiation. For this reason, written accounts of this teaching, such as those that appear in our martial art scrolls and other initiation documents, cannot be deciphered or understood by martial artists of other traditions. They are comprehended only by the most advanced students in the orthodox main lineage who have been admitted to the level of Menkyo Kaiden (i.e., full initiation). The transmission of martial art teachings regarding these kinds of secret ultimates (gokui) succeeds only when the lineage continues without interruption and when the headmasters of each successive new generation persevere month after month and year after year in the intense training necessary to acquire what can be taught only "from hand to hand" (as practical techniques) and "from mouth to mouth" (as theoretical principles). Otherwise the spiritual essence will be lost. During the later half of the sixteenth century the Kashima-Shinryû took shape as a formal lineage through the efforts of an officer of the Kashima Grand Shrine who was known as MATSUMOTO Bizen-no-kami Ki no Masamoto. Matsumoto's attempts to develop Shinbu (Divine Martiality) were assisted by Kunii Genpachirô Minamoto no Kagetsugu. At that time Kagetsugu was the head of the Kunii branch of the Minamoto clan of Hitachi. Several generations of his ancestors had ruled the territory of the Kashima Grand Shrine. They thereby learned the "Futsu no Mitama no Kata" from the priests of the shrine and incorporated it into their family lore. Matsumoto disciplined himself intensely at the Kashima Grand Shrine, seeking divine inspiration day after day. Eventually he formulated Kashima-Shinryû as a system of warrior arts crowned by the seemingly invincible technique of Ichi-no-Tachi (the Foremost Sword). The Kunii-ke Sôden Kashima-Shinryû Hyôhô Denki (Biographical Records of Kashima-Shinryû Warrior Arts Traditionally Handed Down in the Kunii Family) describes this process as follows: During the Tokugawa period (1603-1867) they established a martial academy (dôjô) in Funao Village. inherited both lines. Kashima-Shinryû records refer to Matsumoto Bizen-no-kami as the first generation of the Shihanke(lineage of headmasters) and to Kunii Kagetsugu as the first generation of the Sôke (lineage of the founding house).e. . One evening in a dream he was given a single scroll. Banshû Province (now part of Jôban Yumotomachi. morning and evening he offered prayers in the august presence of Kashima so that he might conform to the divine will. While residing in the province of Hitachi. KUNII Kagetsugu of the Minamoto clan of Hitachi provided empirical aid [in understanding the spiritual transmission] and thereby played a major role. who taught fencing to TOKUGAWA Ieyasu (the future shogun). The Shihanke lineage includes such notable warriors as: (2) KAMIIZUMI Iseno-kami Fujiwara no Hidetsuna. the "Divine Shadow" or "Divine Grace" Style). These two lineages developed independently for 10 more generations until the 12th-generation Shihanke. the same scroll once dedicated to the Kashima Deity by [MINAMOTO] Genkurô Yoshitsune.. Because it constitutes a proper spiritual transmission (shinden). Iwasaki District. and (4) OGASAWARA Genshinsai Minamoto no Nagaharu.. he called this style Shinkageryû (i. gongfu orkung fu in a wide sense) into Kashima-Shinryû. In Funao they maintained their own family tradition (kaden) of martial lore while also privately offering practical martial training to disgruntledrônin (masterless samurai) and gôshi (rural samurai) from across the provinces of Iwaki and Hitachi (modern Fukushima and Ibaraki Prefectures) as a way of nurturing anti-Tokugawa sentiments. (3) OKUYAMA Kyûgasai Taira no Kimishige. Thus. Fukushima Prefecture). The Sôke lineage continued through the Kunii family.Generation 1 The founder of Kashima-Shinryû is MATSUMOTO Bizen-no-kami Ki no Masamoto. who traveled to China and subsequently introduced elements of Chinese martial arts (i. KUNII Taizen. Iwaki City. who became renowned as the founder of the Shinkageryû.e. including the Kunii. . where branch lines of Jikishinkageryû existed) and even HIRAYAMA Kôzô (a secret agent for the Tokugawa shogun who subsequently developed his own style of martial arts called the "Jitsuyôryû" or "Effective Methods"). was especially noteworthy for his exhaustive testing and reinvigoration of each pattern (kata). the current 19th-generation Shihanke. etc. He entrusted Kashima-Shinryû to SEKI Humitake. for his military exploits. Thereafter the Kunii family provided instruction to warriors who held formal affiliation to many different groups. had suffered suppression at the hands of the Tokugawa regime and anticipated better times through its demise. the home of the main line of the Jikishinkageryû. They became particularly active after the 1790s when MATSUDAIRA Sadanobu (1759-1829) promulgated new government policies to revitalize martial training in Japan. samurai stationed in Edo (especially ones from the Numata Domain. During the Showa period (1926-1988) the 18th-generation Shihanke. They taught warriors from the Mito Domain (in Ibaraki Prefecture. Iyo Matsuyama. when the Tokugawa forced the warrior leader SATAKE Yoshinobu [1570-1633] to relocated from his domain in Hitachi to one of less than half the size in Akita province. as well as ones from the domains of Tsuchiura. Tanaka..Many warrior families in these regions. (For example. many of the warriors who had served under Satake had to remain behind and their descendants still exist in great numbers across northern Ibaraki prefecture. where various lines of Shinkageryû and Kashima-Shintôryû and Igaryû flourished). and for his tireless efforts to revive martial arts in Japan after the Second World War.) Each generation of the Kunii upheld this martial tradition of combined family lore and private instruction throughout the Tokugawa period. KUNII Zen'ya (1894-1966). p..Detail of the woodblock print titled "Kiichi Hôgen Kenjutsu Keiko no Zu" (Fencing Instruction by Dharma Master Kiichi) by GYOKURANSAI Sadahide (18071878?). Note: The names Rikutô (Liutao) and Sanryaku (Sanlüe) are titles of actual military treatises written by Taigong Wang (a. Lu Shang) but in popular usage the compound noun Rikutô Sanryakurefers to any texts that convey superlative military teachings. 1968.k. the "the same scroll once dedicated to the Kashima Deity by Genkurô Yoshitsune" mentioned in the Kunii-ke Sôden Kashima-Shinryû Hyôhô Denki refers to: "the Rikutô Sanryaku of Taigong Wang. This section depicts "Onzôshi Ushiwakamaru" (i.k. Gakuseisha. Ushiwakamaru) and he donated them to the Shrine" (TÔMinoru. MINAMOTO-noYoshitsune as a youth). According to the traditions of the Kashima Jingû Grand Shrine.a.a. Dharma Master Kiichi transmitted these scrolls to MINAMOTO-noYoshitsune (a. 181).e. Kashima Jingû. . Toward these ends the Federation authorizes chapters and satellite chapters at high schools. and other advanced arts. The paramount teachings (ôgi) of Kashima-Shinryû can be summarized as: "First condition the body." The 19thgeneration Shihanke established the Kashima-Shinryû Federation of Martial Arts and Sciences to facilitate the proper teaching of these paramount teachings within modern society. colleges. then cultivate one's spirit and one's humanity. battôjutsu (fencing with actual swords). kenjutsu (swordsmanship). and other public institutions in Japan and abroad. and ultimately attain an understanding of the creative phenomena of the universe. These chapters provide comprehensive instruction in the principles and theory of traditional Japanese Budo (Military Ways) and practical training in jujutsu (unarmed techniques).In thus manner each generation of the lineage has refined Kashima-Shinryû while preserving its essential core as a koryû bujutsu (an old-school-style martial system). pole arms. . 1st Generation 2nd Generation 3rd Generation 4th Generation 5th Generation 6th Generation 7th Generation 8th Generation 9th Generation 10th Generation 11th Generation 12th Generation 13th Generation 14th Generation 15th Generation 16th Generation 17th Generation 18th Generation Sôke Kunii Genpachirô Kagetsugu Shihanke Matsumoto Bizen-no-kami Ki no Masamoto Sôke Kunii Gengorô Minamoto no Kagekiyo Shihanke Kamiizumi Ise-no-kami Fujiwara no Hidetsuna Sôke Kunii Yatarô Minamoto no Masateru Shihanke Okuyama Kyûgasai Taira no Kimishige Sôke Kunii Yagorô Minamoto no Yoshitoki Shihanke Ogasawara Genshinsai Minamoto no Nagaharu Sôke Kunii Yashirô Minamoto no Yoshimasa Shihanke Kamiya Denshinsai Taira no Masamitsu Sôke Kunii Yahachirô Minamoto no Masaie Shihanke Takahashi Jikiôsai Minamoto no Shigeharu Sôke Kunii Kogorô Minamoto no Masauji Shihanke Yamada Ippûsai Fujiwara no Mitsunori Sôke Kunii Shingorô Minamoto no Ujiie Shihanke Naganuma Shirozaemon Fujiwara no Kunisato Sôke Kunii Zenpachirô Minamoto no Takamasa Shihanke Naganuma Shirozaemon Fujiwara no Norisato Sôke Kunii Shinpachirô Minamoto no Yoshitsugu Shihanke Motooka Chûhachi Fujiwara no Yorihito Sôke Kunii Gentarô Minamoto no Yoshinori Shihanke Ono Seiemon Taira no Shigemasa Sôke Shihanke Sôke Shihanke Sôke Shihanke Sôke Shihanke Sôke Shihanke Sôke Shihanke Sôke Shihanke Kunii Taizen Minamoto no Ritsuzan Kunii Zentarô Minamoto no Ritsuzan Kunii Zendayû Kunii Zengorô Kunii Shinsaku Kunii Eizô Kunii Zen'ya Minamoto no Michiyuki . Emptiness and Reality as One (kyojitsu ittai).19th Generation Shihanke Seki Hugh Fujiwara no Humitake* * Corresponding Sôke : 19th Generation 20th Generation 21st Generation Kunii Shizu Kunii Michitomo Kunii Masakatsu As explained in the section on history. Offense and Defense as One (kôbô ittai). This technique represents the ultimate physical expression of an approach to swordsmanship founded on the balanced application of Fivefold Laws (goko-no-hôjô) known as: Motion and Stillness as One (dôsei ittai). Origination and Manifestation as One (kihatsu ittai). Kashima-Shinryû first took shape when MATSUMOTO Bizen-no-kami Ki no Masamoto developed Ichi-no-tachi. and Yin and Yang as One (in'yô ittai). . A spiritual counterpart to this technique was introduced by the twelfthgeneration shihanke (headmaster). but include within themselves the germs of all other techniques from this same matrix which is Kashima-Shinryû. the technical applications that they devised do not stand apart from one another. Ichi-no-tachi illuminates the Fivefold Laws to reveal their operating principle of regeneration (shintô no genri). in which each headmaster struggled to further refine the underlying principles of the art into techniques that more closely approach the ideal of shinbu (sublime martial and moral power). KUNII Taizen Minamoto no Ritsuzan. Kashima-Shinryû developed through this kind of process. . while Musôken distills the Fivefold Laws into kiate-no-koto (striking with ki). As a result. when he formulated Musôken (unbeheld sword). which provide Kashima-Shinryû with a unified set of philosophical or metaphysical principles. are the Five Vectors (hô-enkyoku-choku-ei) which present a unified set of physical principles to govern KashimaShinryû movements.Just as essential as the Fivefold Laws. suishin) exhibited by all natural phenomena. reintegration. so that the dynamic motion of the swordstroke encompasses within itself an unmoving stillness. Since Kashima-Shinryû teaches that the ultimate goal of martial art practice is to realize the "original creative principles of the universe. The way that members of Kashima-Shinryû stand. The present form of Kashima-Shinryû resulted from the efforts of the eighteenth-generation shihanke. They dictate that all techniques must conform to certain fundamental patterns of spiraling interactions. kangen. who cultivated his martial art training to the very limits of human endurance as he re-evaluated in light of the Fivefold Laws each of the techniques handed down by tradition and sought to re-elevate them to the highest spiritual levels of Japanese martial art. for example. allows their sword to be in the same location when a technique is initiated and when the technique is finished." the martial techniques that one practices also must be performed as a part of the same beginningless and ceaseless cycle of emergence. KUNIIZen'ya (1894–1966). . and reemergence (hakken. All of these exercises are informed by kuden (oral initiations). Jissen Tachi Gumi. Ura Tachi.Taoshiuchi. Kenjutsu Kashima-Shinryû kenjutsu training follows a curriculum organized into the following series of exercises: Kihon Tachi. if one masters the basic techniques of kenjutsu and jûjutsu. and Tsubazeri . Kassen Tachi. kaikenjutsu (dagger techniques). Because each and every technique rests on the same principles as every other technique. bôjutsu (stick arts). For this reason. even as it is being applied. its outer systems consist of kenjutsu (swordsmanship). Battôjutsu constitutes an indispensable adjunct to kenjutsu. and so forth. SEKI Humitake.which he identified as "Takemikazuchi's Sword ofHôyô-Dôka" (acceptance and resorption). inherited and that he now teaches to the next generation in a manner consistent with modern educational methods. then one can freely and skillfully employ the techniques of any other area of the Kashima-Shinryû martial art curriculum. become an inner technique. while its inner systems consist of jûjutsu (grappling). sôjutsu (spearmanship) and naginata-jutsu (the art of the glaive) and so forth. within which each one of its techniques has bothomote (outer) and ura (inner) applications. jôjutsu(stick arts). This constitutes the essence of the martial art that the nineteenthgeneration shihanke. In accordance with the circumstances an outer technique can. a brief synopsis of the kenjutsu and jûjutsu curriculums should suffice to reveal the underlying structure of Kashima-Shinryû's martial art curriculum as a whole. Kihon Tachi . Aishin Kumi Tachi. battôjutsu (striking while unsheathing the sword). In this framework of outside and inside as one (hyôri ittai). such as polearms and so forth. Kashima-Shinryû forms a comprehensive martial art system. As one trains in the Ura Tachi exercises. Mind. but the fourth generation shihanke. Body: Three as One" (ken-shin-tai sanmi ittai). one still cannot exhaust all the implications hidden within the intriguing depths of the Kihon Tachi. Later. Ura Tachi These exercises require that one learn how to apply techniques when moving toward one another (yukiai) and calculating the engagement distance and timing (maai) as one draws near. Although seemingly simple. .This series corresponds to the "Hôjô-no-Kata" that were handed down within the shihanke lineage during the period when it was known as Jiki-Shinkageryû. Originally the Hôjô-no-kata consisted of a set of five exercises. one begins to understand that Kashima-Shinryû techniques are not reactive. The Kihon Tachi exercises consist of standing encounters (tachiai) that enable one to internalize the ultimate attainment (gokui) of "Sword. but require one to proactively seize the initiative (sen-sen-no-sen). For this reason. OGASAWARA Shingensai. KUNII Taizen. and they are the techniques that all members. reorganized them into a set of four exercise. no matter how advanced. when the twelfth-generation shihanke. practice at the beginning of every workout. revived KashimaShinryû on the basis of the Tengu sho(Tengu Scroll) he returned to the original idea of a series of five exercises as the basis for training in swordsmanship. This approach is completely different from strategies based on countering an incoming attack. even after earnestly exploring martial art training for ten years or twenty years. they consist of the distilled essence of all Kashima-Shinryû techniques. These are the techniques that beginners learns to practice as soon as the join Kashima-Shinryû. They always are performed with bokutô (wooden training swords). During the nineteenth century when Kashima-Shinryû. At the instant the shitachi (active partner) initiates the encounter. For several hundred years they were handed down and refined by successive generations of the Kunii family. the uchitachi (senior partner in the teaching role) responds by reading and following his movement in an attempt to seize the initiative (go-no-sen). The sword techniques practiced in these exercises are the same as those once performed by high-ranking warriors even prior to the formation of Kashima-Shinryû as an identifiable lineage. was taught to warrior activists in the Mito domain and elsewhere. kenjutsu training focused on this set of exercises alone. The shitachi. under the name Shinkageryû. Kassen Tachi These exercises require that one learn how to master techniques suitable for battlefields during the days when combatants wore traditional Japanese armor and charged one another from a distance (yukiai).Aishin Kumi Tachi These exercises require that one learn how to use spiraling movements to merge one's sword with the initial flow of energy or ki and thereby master a situation in which both sides attempt to use the same moves against one another. therefore. is required to perform his techniques at the higher level of urawaza (obverse technique). These techniques exploit the armor's weak points and employ sophisticated mechanical principles to topple the opponent. . Jissen Tachi Gumi These exercises require that one learn how to master encounters that begin just outside of striking range (ippô ittô maai). however. that someone who lacks full initiation into this lore does not know real Kashima-Shinryû . Paired practice. Without abandoning one's sword. Battôjutsu Kashima-Shinryû teaches Battôjutsu as a kenjutsu encounter that begins while one's sword is still in its scabbard. and that they are grounded in the context of Kashima-Shinryû philosophy and lore. Real Japanese swords (Nihontô) are used for practicing battôjutsu. Without access to the oral initiations (in the form of a certified teacher). Kuden Oral initiations (kuden) give life and meaning to the above (and to all) training exercises by insuring that they are performed correctly. It should be obvious.Tsubazeri – Taoshiuchi These exercises require that one learn how to master encounters when locking sword guards with difficult-to-handle expert opponents. one employs a special kind of jûjutsu. Beginners learn the basic moves by practicing solo with an imaginary uchitachi. is essential in order to master the ability to detect and flow with the uchitachi's energy or ki. one cannot even begin to learn Kashima-Shinryû martial arts. that their significance is fully grasped. These exercises require that one learn how to respond to the uchitachi's attack by evading his swordstroke as one unsheathes one's own sword and seizes control of the situation. therefore. ) training as during kenjutsu (etc. because differences in physical power can play such a major role in the effectiveness of inner systems. Outside and Inside as One As one attains certified mastery of the above series of kenjutsu exercises. for beginners regular training is essential in order to master the basic patterns of spiraling interactions which enable one to complete a throw in a single movement and to project energy or ki in a highly effective manner. which constitute outer systems. such as jûjutsu or bôjutsu. one practices exactly the same movements during jûjutsu (etc. then one should be able to learn new techniques of inner systems. Jûjutsu To develop these abilities.and cannot teach it.) training. Idori. In other words. . easily in as little as a single day's training. This is possible because the basic bodily movements used for kenjutsu also are used for all other aspects of Kashima-Shinryû's martial art curriculum. Even more obvious is the fact that it cannot be learned merely by observing and then blindly imitating the movements of someone else whether in person or from video tapes. Kashima-Shinryû jûjutsu training follows a curriculum organized into the following series of exercises: Reiki-no-Hô and Reikinage. Nonetheless. Reiki-no-Hô was performed for the first time by Takamikazuchi-no-Mikoto. techniques cannot be effective from this posture unless one learns how to generate energy from the tanden (i. grasping it as if it were a young reed. the deity of Kashima.e. . Kumiwaza Gusokudori. Reiki-no-Hô and Reikinage These exercises are not organized into an explicit series of techniques.e.. these exercises require that one master how to detect. Idori These exercises are performed as sitting encounters (iai) while positioned on the floor with one's legs tucked underneath one's body (i. all of these exercises are informed by Kuden. According to the myth. Next. For this reason. but consist of the underlying movements upon which all Kashima-Shinryû jûjutsu techniques are based.. all superfluous actions must be eliminated. and ultimately control the energy or ki of the ukete(senior partner in the teaching role). in seiza). Moreover. however. and throwing it aside. changed his arm into a column of ice.Tachiwaza. They enable one to move one's body while neutralizing and projecting energy and to develop physically powerful moves. and Ushirowaza. one attempts to emulate the sublime power described in this mythical language. Nagewaza. The latter. 712). deflect. and then changed it again into a sword blade. lower abdomen) and projected it when one initiates a move. therefore. when his mission to pacify unruly earthly gods was challenged by another deity named Takeminakata. Takeminakata attempted to take hold of Takemikazuchi's arm. When practicing these exercises. Toritegaeshi. causing Takeminakata to draw away in fear. Takamikazuchi took hold of Takeminakata's arm. crushing it. Since this posture restricts one's freedom of movement. Naturally. According to the mythology recorded in the Kojiki (Record of Ancient Matters. They require that one learn how to respond to an attack with the most mechanically efficient use of force and. having lost or broken their long weapons. Each exercise begins withomotewaza (manifest techniques) that invite the ukete's kaeshiwaza (counter techniques). Nagewaza These exercises are performed as moving encounters (yukiai) that introduce more difficult distances and timing. Some exercises involve situations in which one lacks free use of both arms or where obstacles prevent movements in certain directions. kicking. Toritegaeshi These advanced and eclectic exercises focus on countering a wide variety of possible attacks consisting of grappling. Like the Kassen exercises in kenjutsu. that one learn how to apply omotewaza themselves at the level of urawaza (obverse techniques).Tachiwaza These exercises are performed as standing encounters (tachiai) while upright in a natural stance. These exercises require. therefore. therefore. but with free use of one's legs. punching. these exercises require that one learn how to exploit the mechanical principles of a lever and pulley. these jûjutsu exercises convey the flavor of an earlier age. Since armor restricts one's freedom of movement. These exercises . Kumiwaza Gusokudori These exercises teach grappling techniques that would have been used on a battlefield by combatants wearing traditional Japanese armor when. Many of these exercises duplicate the same moves as in the Idori series. are excellent exercises for mastering and internalizing the fundamental principles expressed in the Kashima-Shinryû teachings of the Fivefold Laws and the Five Vectors. they would charge one another from a distance (yukiai). or even small hand weapons such as knives. Kuden Of course. formal. sequences. Kashima-Shinryû training always regards patterns as flexible living matrixes and never as dry. stances. One should never attempt to practice any of these techniques without direct supervision by a properly certified teacher. For this reason. Kata Training Kashima-Shinryû training consists of traditional methods of paired pattern practice (kata keiko).)." Old traditions (koryû) must be mastered as living.require that one learn how to freely apply the principles of Kashima-Shinryû jûjutsu to any and all circumstances. including ones unique to modern industrialized society. Ushirowaza These exercises focus on attacks that originate from behind one's back. predetermined "forms. oral initiations are just as essential for learning jûjutsu as for learning any other aspect of Kashima-Shinryû. . dynamic. etc. These patterns are performed in a highly realistic manner that allows students to internalize skills that can be employed freely without rigid adherence to any predetermined formal elements (such as rhythms. and effective martial arts. . Warizuki (a. Kesa Tachizuke 3.k.a. Tsukikaeshi) 5.Kenjutsu (Partial List): Reigi Kamae Mugamae (a.k.k.k. Tsukikaeshi ) 7. Sokuizuke (a.k. Naori Taichû Ken 9. Oto Nashi no Kamae) Kurai Tachi Kami Hassô Shimo Hassô Seigan Tsubazeri A. Enbi Ken (a.a.k.a.a. Kiriwari 4.a. Kurai Tachi B. Kesagiri Sodesuri 10. Kihon Tachi no Koto 1. Mikiri Kenchû Tai 8. Kyodachi Taichû Ken ) 6. Ashibarai Ukibune 3. Tsubamegaeshi) . Ura Tachi 1. Men Tachizuke 2. Kyodachi Kote Giri (a. Gedan Kote Dome 5.a. Sokui Tachi ) 4. Dô Tachizuke (a. Kesagiri (& Gyaku Kesa ) 2. Tsukikaeshi 2.k.k. Gyaku Kesa 9. Kumitachi Kiridome 2. Kumiwakare Warizuki (a. Kenjutsu: Basic Kuden Te no Uchi no Koto Seigan Tachiai 1. Sokui Tachi (a. Kumitachi Seigan 3. Tsubamegaeshi 8. Gasshôdaoshi) 10.k. Makitachi Oikomi E. C. Sasen Uten 4. Kiriwari 3. Dô Tachi ) 4. Hayanuke Fudô Ken 5. Tsukikaeshi 2.a.a. Aishin Kumitachi 1. Kote Giri Kote Kaeshi ) 5. Gedan Kote Uchi 7. Tsukikaeshi ) 4. Jissen Tachigumi 1. Sokuizuke .a. Kumiwakare Taoshiuchi D. Usen Saten 3. Tsubazeri Taoshi (a.k. Kumitachi Kaeshi Kote (a.a. Sodesuri Seigan 6. Idori Kata Muna Dori Ryô Muna Dori Tsuki Te Dori Uchi Te Dori Gyaku Te Daoshi Yorisoi B. Tachiwaza Kata Muna Dori Ryô Muna Dori Tsuki Te Dori Uchi Te Dori Gyaku Te Daoshi Hiki Te Otoshi Kami Tori Erijime Nukitejime Kiridome C.Jûjutsu (Partial List): Reigi Reiki no Hô Reiki Nage Ukemi Seiza A. Nagewaza Gasshô Nage Kirite Nage . Kinukatsugi Koromo Nage Shimete Nage Yoko Sutemi Ma Sutemi Gasshô Kuzushi D. Kumiwaza Gusoku Dori Ganseki Otoshi Gandô Gaeshi Sumiiri Gyaku Daoshi Tasuki Dori Sumiiri Gaeshi Ganseki Nage Byôbu Daoshi Hiji Kujiki Kannuki Kata Te Dori .