十級 (JUKKYU /10th Kyu)

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Howard Hunter
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1 TRAITS OF THE NINJA Three traits make up a Ninja. The most important one, honesty, is not only required in Ninpo, but also applies to everything. A person with strength, skill and intelligence will lose everything if he is dishonest. Honesty, purity and righteousness are the path to enlightenment. When one walks an honest road, things learned penetrate the body and heart like water entering sand. Then a person can judge what is right and wrong with the heart as a mirror. Ninja sometimes use a dishonest road, but only as an instrument. Diversionary tactics (Kyojitsu Tenkan) are a temporary means and as such are not important. But the dark way is not the true way. The true Ninja has the ability to use both honesty and deception to arrive at an honest goal. Deception is not an end, only a means. The second trait involves taking an interest in everything. This produces common sense, general knowledge, and finally enables critical judgment. The Ninja's essential techniques (Sanjurokkei) require this special insight or cultured spirit (Seishinteki Kyoyo) because without this, in addition to having bad manners, an agent can easily fall into enemy traps. The gate of martial art (Bumon), the gate of spirit (Shumon), the gate of heaven (Tenmon) and the gate of earth (Chimon) must be deeply understood. Knowledge of culture equates intelligence, but it is not enough to be only an intellectual. It is important to be able to use cultural knowledge in practical ways. Develop intellect with an honest heart, and unlimited wisdom (Chi-e) results, leading to spiritual refinement. The third trait involves effort. To be a Ninja, a person must have a level of endurance that cannot be broken even in the most impossible of circumstances. To achieve this trait a practitioner must train both the body and the mind to the point of regurgitation. It is impossible to explain the way I trained to obtain my patience. However, with this trait the most difficult or impossible barriers can be overcome. Talent is not required for there is no relationship between talent and effort. Effort alone can defeat even a genius. Lack of talent should not bring despair instead there should be a commitment to try harder. To be a true Ninja, develop these three traits to the best of your ability. Dojo principles should always stress the development of these traits. Consider what these time honored Dojo principles that go back to before the time of Takamatsu Sensei emphasized. 1. One must learn patience within the time it takes a cigarette to burn. 2. One must learn that the way of man is righteousness. 3. Forget desire; forget easiness; forget stubbornness. 4. Think of sadness and grudges as destiny. One must comprehend the immovable heart (Fudoshin). 5. Do not distance one's loyalty from one's parents and rulers. Try deeply to master culture and martial arts. "What are the martial arts? If you understand the answer, that is the correct way. This is the most mysterious point which one gains without learning." 19

2 十級 (JUKKYU /10th Kyu) 1. 礼法 (REI-HO) (1) 立礼 (RITSU-REI) Ⅰ. 自然礼 (Shizen-Rei) Ⅱ. 天略宇宙合掌礼 (Tenryaku Uchu Gassho-Rei) Ⅲ. 風天護身合掌礼 (Futen Goshin Gassho-Rei) Ⅳ. 反応汎溢合掌礼 (Hanno Bon-itsu Gassho-Rei) (2) 坐礼 (ZA-REI) Ⅰ. 正座礼 (Seiza-Rei) Ⅱ. 不動坐礼 (Fudoza-Rei) Ⅲ. 陣中礼 (Jinchu-Rei) (3) 神前礼 (SHINZEN-REI) Ⅰ. 忍者精神 (Ninja Seishin) Ⅱ. 千早振る神の教えは久遠に正しき心身を守るらん詞韻波羅蜜大光明 (Chihayafuru Kamino Oshiewa Tokoshieni Shikin Haramitsu Daikomyo) (4) 師礼 (SHI-REI) お願いしますありがとうございましたはい先生等々 (Onegai Shimasu. Arigato Gozaimashita. Hai, Sensei etc ) (5) 道場礼 (DOJO-REI) Ⅰ. 入場時おはようございます ( 今日は今晩は ) 礼 (When entering the Dojo: Ohayo Gozaimasu / Kon-nichiwa / Konbanwa etc ) Ⅱ. 退場時失礼します礼 (When leaving the Dojo: Shitsurei Shimasu / Sayonara / Oyasumi Nasai etc ) 2. 準備運動整理運動 (Junbi Undo & Seiri Undo; Pre- & post-lesson warm ups) (1) 全身マッサージ (Zenshin massage; Pre-lesson body massage) (2) 柔軟運動 ( 呼吸法と共に )(Junan Undo; Flexibility & breathing exercises) Ⅰ. 安座 ~ 足指回し土踏まず押し足首回し足首前後曲げ Ⅱ. 両足底合せ前屈 Ⅲ. 両足広げ前屈 Ⅳ. 両足並べ前屈 Ⅴ. 両足上げ後屈 Ⅵ. 腕立て背筋伸ばし Ⅶ. 正座 ~ 後屈 Ⅷ. 正座 ~ 指手首肩首眼回し Ⅸ. 立位 ~ 足膝腰腕の屈伸 Ⅹ. 立位 ~ 手足の振り上げ振り回し (I. Rotate the toes, press the arch, rotate the ankle, flex whole foot. II. Flex the things. III. Flex the back. IV. Forward leg stretch. V. Stretch legs over the head. VI. Cobra stretch and shoulder stretch in Seiza. VII. Recline backwards in Seiza. VIII. Rotate fingers, wrists, shoulders, neck, and eyes. IX. Stretch legs, knees, waist, and elbows. X. Stretch and rotate arms and legs. ) 3. 受身型体変術 ( 一 )(UKEMI GATA TAIHEN JUTSU 1) (1) 前方回転 (ZENPO KAITEN) (2) 後方回転 (KOHO KAITEN) (3) 側方回転 (SOKUHO KAITEN) (4) 立ち流れ (TACHI NAGARE) (5) 横流れ (YOKO NAGARE) (6) 順流れ (JUN NAGARE) (7) 逆流れ (GYAKU NAGARE) (8) 前方受身 (ZENPO UKEMI) (9) 横転 (OHTEN) 横空転 (YOKO KUTEN) (10) 前方転回 (ZENPO TENCHI TOBI) (11) 後方転回 (KOHO TENKAI) (12) 八方天地飛び (HAPPO TENCHI TOBI) (13) 飛び込み飛び降り昇天 (TOBIKOMI, TOBIORI, SHOTEN) 20

JUKKYU / 10th Kyu TECHNIQUES 1. REI HO I) Ritsu Rei a.

(Water), Ka (Fire), Fu (Wind) and Ku (Air or Sky).

3 JUKKYU / 10th Kyu TECHNIQUES 1. REI HO I) Ritsu Rei a. Shizen Rei Simply stand straight and relaxed, with heels apart and body weight evenly distributed. Place the hands on the laps, and bend at the waist to an angle of about 30%, keeping the back straight. b. Tenryaku Uchu Gassho Rei From the little finger to the thumbs, the title of each finger is as follows: Chi (Earth), Sui (Water), Ka (Fire), Fu (Wind) and Ku (Air or Sky). Clasp the hands about a fist s width in front of the chest and bow as above. c. Futen Goshin Gassho Rei To clasp the hands in Futen Goshin Gassho, open the hands with the palms facing up and join the Fu and Ku fingers together, thus forming a circle. Then interlock one with the other and join the rest of the fingers together, pointing them upwards. To bow, do as Tenryaku Uchu Gassho. d. Hanno Bon-itsu Gassho Rei To clasp the hands in Hanno Bonitsu Gassho, do as with Futen Goshin Gassho, but with the Sui and Ku fingers joined together. Bow as in Tenryaku Uchu Gassho. 21

II)Za Rei a. Seiza Rei One s spirit as well as one s body should maintain its Kamae, or posture, at all times, including when one is sitting.

3 Then kneel on the right knee in the same way and settle the body weight back onto the heels.

The toes of both feet must always be side by side, with the hands remaining upon the laps. This posture is known as Sei Za.

4 II)Za Rei a. Seiza Rei One s spirit as well as one s body should maintain its Kamae, or posture, at all times, including when one is sitting. 1~2 Stand up straight and step back with the left foot; kneel on the left knee with the ball of the foot firmly on the ground. 3 Then kneel on the right knee in the same way and settle the body weight back onto the heels. 4 After a short pause, raise the body slightly off the heels and place the whole instep on the ground, finally setting onto the heels once more. The toes of both feet must always be side by side, with the hands remaining upon the laps. This posture is known as Sei Za. 5~6 To bow, place the left hand on the floor in front of its corresponding knee, followed by the right hand, having the fingers pointing to an apex. 7 Bend at the waist and elbows until the back is at about 45 and pause, 8 After the pause, retrieve the left hand first, placing it on the lap and then retrieve the right hand. 9 This brings one back to Sei Za. 10~11 To stand, do the whole sitting process in reverse order. 22

b. Fudo Za Rei Another name for Fudo Za is Karafu. Used by the Chinese for centuries (calling it Kara ), it was later adopted by the Samurai when on castle grounds or battlefields.

an enemy to see what type of posture was being used, because the hakama concealed the Samurai s legs. From this posture, it is easy to stand suddenly, using the sword when attacked.

1~2 Again, stand up straight and step back, kneeling with the left leg and having the ball of the foot firmly on the ground. 3 Then settle the left foot on the floor and sit on the ankle and heel.

5 b. Fudo Za Rei Another name for Fudo Za is Karafu. Used by the Chinese for centuries (calling it Kara ), it was later adopted by the Samurai when on castle grounds or battlefields. Since the Samurai wore a hakama (a pair of very wide flared trousers which seem at first appearance to be a pleated skirt) and a short sword when inside a castle, this posture made it difficult for an enemy to see what type of posture was being used, because the hakama concealed the Samurai s legs. From this posture, it is easy to stand suddenly, using the sword when attacked. On the battlefield, this posture was also appropriate because trying to stand up from any other position while wearing armour would have been extremely difficult. 1~2 Again, stand up straight and step back, kneeling with the left leg and having the ball of the foot firmly on the ground. 3 Then settle the left foot on the floor and sit on the ankle and heel. 4 Finally, bend the right knee so as to place the sole of the right foot on the left knee. At all times the hands remain on the laps either with the fingers held together or holding fists (Boshi Ken). 5~6 To bow, place the left fist on the floor in front of the left knee and then the right fist. 7 Bend at the waist and elbows until the back is at about 45 and pause. 8~9 To stand, do the whole sitting process in reverse order. 23

6 c. Jinchu Rei Jinchu Rei is only used for a real fight whether it is on the battlefield or in a Dojo, so one must look into the enemy s eyes at all times. From a standing posture, kneel with the left knee, keeping the ball of the foot firmly on the ground and having both hands on the laps. To bow, place the left hand, converting it into a fist (Boshi Ken) on the ground and bend the left arm a little as well as at the waist. Then stand. III) Shinzen Rei (Kotodama) At the beginning of the class, all students shall sit in Sei Za and enter meditation. At one point during the meditation, the teacher shall recite the Ninja Seishin poem, allowing everyone to repeat it. After the recital, the teacher shall face the Kamidana (Dojo Shrine) and place the hands together for the Kotodama (spiritual prayer), pausing so that the students follow suit. The teacher then begins by saying, Chihayafuru Kami no Oseiwa Tokoshieni Tadashiki Kokoro Mio Mamoruran. Shikin Haramitsu Dai Komyo, after which the students repeat the latter verse, followed by two claps, a bow, then one clap and one more bow. IV) Shi Rei After the Shinzen Rei, the highest-ranking pupil shall order, Shisei-O Tadashite, Sensei-ni Rei! (Present yourselves, to the teacher. Bow!) The same shall be done at the end of the class, except the pupils shall say, Arigato Gozaimashita! (Thank you very much!) instead of Onegai Shimasu. Ⅴ) Dojo Rei As a form of courtesy to the other students and teachers in the Dojo, when entering or leaving the Dojo, do the Shizen Rei and say one of the following: Entering: i. Ohayo Gozaimasu (Good morning), ⅱ. Konnichiwa (Good afternoon), iii. Konbanwa (Good evening). Departing: ⅰ. Shitsurei Shimasu (Excuse me), ⅱ. Sayonara (Good-bye), ⅲ. Oyasumi Nasai (Good night). whichever is most appropriate. 24

2. JUNBI UNDO Ⅰ) Keikomae Zenshin Massage Either sits or lies with the legs straight and pats the muscles and tendons of the body using either the palms or fists.

7 2. JUNBI UNDO Ⅰ) Keikomae Zenshin Massage Either sits or lies with the legs straight and pats the muscles and tendons of the body using either the palms or fists. Do this moving towards the feet and not towards the shoulders. This massage awakens the muscles before warming up. II) Junan Undo Before starting the Junan Undo, begin first with Kokyu-ho (breathing exercises). Sit in Sei Za and inhale, expanding the chest to its limit by leaning backwards, and hold the breath, straightening the body and pushing the diaphragm down. To exhale, lean forward slowly, together with the exhale. Repeat the process 4 or 5 times. This is also to be done with most of the warming up excercises that involve bending the body either forwards or back. a. Ashi Yubi, Ashi Kubi No Undo Sitting with the legs crossed, do the following to each foot: 1 Manually turn the toes either individually or in pairs 20 or 30 times both clockwise and anti-clockwise. 2 Turn the sole of the foot upwards and raise the foot s arch by pushing the thumbs into it 10 times. 3 Hold the ankle with one hand and the foot with the other and manually turn the ankle 10 times both clockwise and anti-clockwise. 4 Lastly, hold the foot by the toes and bend them forwards and backwards 4 or 5 times. b. Ashi Soko Awase Zenkutsu Sit up straight with the soles of the feet together in the hands, placing the knees on the floor with the muscles. Repeat 8 to 10 times. 25

8 c. Ashi Hiroge Zenkutsu Sit with the back straight, the legs directly ahead and open the legs as far as possible, with the toes curled back and without bending the knees, and lay the trunk of the body forward to the floor. Repeat 8 to 10 times. d. Ashi Narabe Zenkutsu Sit with the back straight and the legs directly ahead. Without bending the knees, touch the toes with the hands. Repeat 8 to 10 times. e. Ashi Age Kokutsu Lie on the floor face up with the body straight and palms down, lift the legs up and over the head, placing the feet on the floor, breathe slowly 3 or 4 times and return the feet to the ground in the same way. Repeat 3 or 4 times. f. Sesuji Nobashi Lie face down with the body straight and lift the body, supporting it with both arms, allowing the waist to bend backwards and tilt the head back. Then rock the whole body backwards onto its lower legs (as if sitting in Sei Za), but without moving the hands from their position. Do this 4 or 5 time. g. Kokutsu Sit as in Sei Za but with the feet slightly apart and sit directly on the floor. Then lay down, face up, with both arms above the head. Do 4 or 5 times. h. Shushi Kata Mawashi Sit in Sei Za and do the following: i) manually turn the fingers in circles one by one 3 or 4 times clockwise and anti-clockwise, pulling them once or twice; ii) Clasp the hands together and turn them in a figure-of-eight ( ) in both directions 10 times; ⅲ) Roll the shoulders back and forth 4 or 5 times; ⅳ) Rock the head back and forth; from left to right; roll it clockwise and anti-clockwise doing each 4 or 5 times; ⅴ) Keep the head facing forward and, with the eyes only, look up, down, left, right and diagonally to the sides (up and down). Then roll them around clockwise and anti-clockwise. i. Hiza Koshi No Kusshin While standing, stretch the Achilles Tendon (10 times); bend the knees and waist as well as rolling them (5 times); roll the arms forwards and backwards (5 times). j. Teashi No Furi Mawashi While standing, swing the legs and arms in front and behind 10 times. 26

3. UKEMI GATA TAIHENJUTSU (Ⅰ) I) Zenpo Kaiten

two handed roll, tuck the chin to the chest

For one handed (3) or when with both hands

After a time, one should be able to roll on

1 2 3 4 II) Koho Kaiten (without hands) From

9 3. UKEMI GATA TAIHENJUTSU (Ⅰ) I) Zenpo Kaiten (both hands, one hand, and no hands) For a two handed roll, tuck the chin to the chest curling the body (1~2). For one handed (3) or when with both hands (4), one may roll over one shoulder. After a time, one should be able to roll on concrete or gravel II) Koho Kaiten (without hands) From a standing posture, take one step back and sit on the floor, keeping the other leg straight. To roll, place the head on the side (same side as the extended leg) and roll over the opposite shoulder. 27

III) Sokuho Kaiten (Both hands, one hand, and no hands) 1 From standing

(on the inside) with the hands forming a T-shape.

2 For the one handed Sokuho Kaiten, place the edge of one hand on the

3 Without hands, allow the hand to slip by without touching the floor and

4 One note of caution is that one should be careful not to roll over the

10 III) Sokuho Kaiten (Both hands, one hand, and no hands) 1 From standing posture, step to the side with one leg and place one s hands next to it (on the inside) with the hands forming a T-shape. Then unbalance the body to the same side and roll. 2 For the one handed Sokuho Kaiten, place the edge of one hand on the floor and roll over the hands, arm and shoulder. 3 Without hands, allow the hand to slip by without touching the floor and roll over the shoulder. 4 One note of caution is that one should be careful not to roll over the head or the bones on the back of the hip IV) Tachi Nagare Take a step forward with one leg and then, extending the other leg forward, sit back and roll over one shoulder in the same way as Koho Kaiten. 28

PRELIMINARY AIKIDO EXERCISES

PRELIMINARY AIKIDO EXERCISES These preliminary Aikido exercises shall be performed at the beginning of each class with the purpose of loosening up your body, stretching and relaxing your muscles, and also