Taijutsu Fundamentals
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Taijutsu Fundamentals

A comprehensive study resource for students of the traditional Japanese martial arts with 200 video lessons.
4.5 (46 ratings)
Instead of using a simple lifetime average, Udemy calculates a course's star rating by considering a number of different factors such as the number of ratings, the age of ratings, and the likelihood of fraudulent ratings.
538 students enrolled
Created by Adam Mitchell
Last updated 5/2014
English
Current price: $10 Original price: $40 Discount: 75% off
1 day left at this price!
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Includes:
  • 7 hours on-demand video
  • Full lifetime access
  • Access on mobile and TV
  • Certificate of Completion
What Will I Learn?
  • By the end of this course you will have a solid comprehension of taijutsu fundamentals including:
  • Kamae Kihon 構基本 - Posture and intent
  • Daken Kihon 打拳基本 - Striking fundamenals
  • Ukemigata Taihenjutsu 受身型体変術 - Receiving techniques of the body
  • Nage Waza 投げ技 - Throwing techniques
  • Torite Kihon 捕手基本 - Hand grappling basics
  • Newaza 寝技 - Non-standing techniques
  • Shime waza 締技 - Choking techniques
  • Live trainings
  • Kukishin Ryū Dakentaijutsu 九鬼神流打拳体術
View Curriculum
Requirements
  • Willingness to learn
Description

Jinenkan Dōjōchō, Adam Mitchell and 5th degree Black Belt, details the methods of training and conditioning for how he teaches Jissen Kobudō, the realistic classical fighting arts of Japan. Mr. Mitchell is a personal student of Lt. Col. (ret.) Fumio Manaka, Kanchō of the International Jinenkan organization.

The goal of this course is to help you develop and continually refine your skills in Taijutsu. Whether you are a student of the Koryū, Jūjutsu, Ninjutsu, Karate, Aikido or any style of art, this course introduce you to new techniques and principles.

All of the video lessons are professionally recorded and edited with high quality narration, multiple angles and slow motion repeats.

In the first sections, you will learn protocol, posture, conditioning, striking basics, blocking basics, kicking and receiving kicks as well as traditional training patterns

In the following sections, you will learn methods of receiving takedowns, evading and countering attacks with break-fall and rolling. The characteristic body movements of taihenjutsu are covered in detail. Students will then be taken through the takedowns and reversal exercises taught at the Jinenkan Dōjō and in the traditional kata we study.

The final sections are centered on using the previous lessons studied on the ground including use of grappling, submission and choking. Never before has this material been presented in such a concise and informative way.

Many of the lessons in the course are from Mr. Mitchell's Taijutsu Fundamentals DVD set, but there has been added footage that was not included in the DVDs, along with many more video lessons and PDF downloads available only in this course.

Who is the target audience?
  • Martial Artists from all backgrounds and skill levels
  • Students of traditional Japanese martial arts
  • Anyone interested in classical Jūjutsu or Ninpō Taijutsu
Students Who Viewed This Course Also Viewed
Curriculum For This Course
Expand All 253 Lectures Collapse All 253 Lectures 07:07:35
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Reihou 礼法
2 Lectures 00:42

Ritsu rei 立礼

Bowing to your training partner with an appropriate mindset. With both hands at the side of your hips, look at your training partner and bow at the crook of the hip slightly. Do not bend your back or over do the bow. It should be demonstrated with a purity of mind and zanshin. When bowing, you are giving an unspoken promise to your training partner that your training with them will be done with a sense of safety and respect. Often times, this bow is accompanied with “Ote yawaraka ni” or “Onegai shimasu”. When training is completed, the bow will be done while you are saying, “arigato gozaimasu”.

Preview 00:10

Za rei 座礼

The seated bow is done at the beginning and ending of each class, as well as during the training of certain techniques in the Takagiyoshin Ryu. Lower the body onto the left knee first without bending the back, then onto the right knee. Remain on the balls of your feet with your hands on your hips and buttocks on your heels. After one second, lean slightly forward, lifting the toes back and now rest onto the tops of your feet with your hips remaining on your heels.

Place the left hand gently on the ground in front of your left knee, then do the same with the right. Keeping the back straight, bow forward so that your forehead comes within one inch from the ground and between your hands. Hold this bow for three seconds. When straightening back up, bring the right hand back to the hip followed by the left. Lean forward and come back onto your toes and then stand by coming up onto your right foot first.

Za Rei 座礼
00:32
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Kamae Kihon 構基本
9 Lectures 28:33
Ichimonji no Kamae 一文字之構
00:27

Hichō no Kaman 飛鳥之構
00:18

Jūmonji no Kamae 十文字之構
00:15

Seigan no Kamae 正眼之構
00:16

Hira Ichimonji no Kamae 平一文字之構
00:24

Hōkō no Kamae 抱囲之構
00:24

Bōbi no Kamae 防備之構
00:36

Shizen Tai 自然体
00:39

In this video lesson, I break down the common misunderstandings about kamae and explain the exact reason they are the 'beginning and end' of our martial art. Too often, many well intentioned instructors offer their ideas on this topic with vague explanations and miss crucial points rooted in physiology and the law of escalation. This video will help you understand once and for all what it kamae means and bring value to it's place in your training.

Core Concepts: Training kamae with purpose
25:14

In this section, please take your time and fill out the answers to the following questions based on the content in the video lessons. When you make a mistake, go back to the video and watch it again. It's important to not move ahead until you thoroughly understand this material first. Let's get started.

Quiz: Kamae Kihon 構基本
10 questions
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Daken Kihon 打拳基本 (Striking basics)
45 Lectures 01:12:31
Core Concepts: Training Gogyo no Kata with purpose
16:25

Fudō ken 不動拳(shizentai)

Conventional fist from natural stance

Begin from shinzen tai. Step forward with the right foot and strike your target with a closed fist at the head level. The important point is that the impact point on the hand is at the first and middle finger, supported by the structural line of the forearm bones and muscles. As well, the timing in your step is critical when training this type of advancing punch. Another important point is to be certain not to over extend the striking arm. This is a common mistake among martial artists and will lead to long term injury due to constant hyper extension. Breath and strike must have the correct synergy and come from the tanden. Once this technique is understood, you can begin to train various forms of punching, such and gyaku ken and ura ken.

Fudō ken 不動拳
02:01

Fudō ken 不動拳 (za gamae)

Conventional fist from seated position

This is the same as the previous technique only done from za gamae. Come up onto the right foot from za gamae as though advancing forward with shikkō quickly. This movement is being led by a closed fist strike to the head level. The important point in this movement is to have a strong shikkō and correct ken waza.

Fudō ken 2 不動拳二
00:44

Fudō ken tsuki gata 不動拳 突型

Closed fist lunging punch

From seigan no kamae, pull forward on the lead leg, stepping and striking with a lunge punch. The important points are to not demonstrate bounce in your movement and to project the energy in the strike from the hips. The strike should hit at the exact moment the advancing leg finishes the step. Maintain a vertical fist and a slight bend in the arm to prevent hyperextension or locking the arm for counter techniques. Be certain to bring the lead knee over the ball of the foot to demonstrate power in the strike and then return to kamae. It is important to maintain the correct pattern of breathing while demonstrating this technique. When testing, a student must demonstrate this technique with power and precision, striking to the jodan level. There is no leaning into the strike.

Fudō ken tsuki gata 不動拳 突型
02:39

Omote shuto 表手刀 (shizentai)

Bladed fist facing upward from a natural stance

From a natural stance, step the right foot forward striking with a bladed fist to the temple level. This strike will be done with the palm of the hand facing down and the point of impact with the hand is at the point just below the pinky knuckle and above the wrist. When doing this strike, do not make a circular motion with the arms. Instead, this style of shuto ken is straight from the hip to the target, knocking your target back in the direction you’re advancing in.

Omote shuto 表手刀
00:42

Omote shuto 表手刀 (za gamae)

Bladed fist facing upward from a seated postureThis technique is the same as the previous with the difference being that you are now striking from za gamae. The important point is moving with shikkō.

Omote shuto 2 表手刀二
00:50

Omote shuto tsuki gata 表手刀突き (seigan no kamae)

Begin from seigan no kamae. Step forward with the right foot while bringing the right hand to the side of the head and above the forehead in a soft fist. From this position, the elbow will be guarding, do not pull the elbow back. As the foot is continuing into the step, strike from the right to the left with the blade of the hand, palm facing upward. It is important to note that the strike comes off of the rotation of the elbow. Do not pull the arm back, as this creates an opening on the right side of the body for counter techniques. Return to seigan no kamae after completing the strike. Important points for this technique include keeping the spine perpendicular with the ground and demonstrating power in the strike by having the lead knee go over the foot correctly on the strike.

Omote shuto tsuki gata 表手刀突き
01:34

Omote shuto tsuki gata 2 表手刀突き二

Bladed fist facing upward from a ichimonji no kamae

Begin in Gyokko Ryu Ichimonji no kamae. Advance forward, striking with shuto in a downward manner. The feeling should b similar to striking a target with a hatchet or hammer. It is characteristically different than Koto Ryu shuto.

Omote shuto tsuki gata 2 表手刀突き二
01:15

Ura shuto 裏手刀 (za gamae)

Bladed fist facing downward from a seated posture

This technique is the same as the previous with the difference being that you are now striking from za gamae. The important point is moving with shikkō.

Ura shuto 2 裏手刀
00:35

Ura shuto 裏手刀突き (seigan no kamae)

Begin from seigan no kamae. Step forward with the right foot while bringing the palm of the right hand near the left ear in a soft fist. As the foot is continuing into the step, strike from the left to the right at a neck-high level with the blade of the hand, palm facing downward. It is important to note that the strike comes off of the rotation of the elbow. All other points are the same as previous technique. Return to seigan no kamae after completing the strike. The important points are the same as in the previous technique.

Ura shuto tsuki gata 裏手刀突き
01:13


Goshi ken 五心き
00:47

Goshi ken 2 五心き二
00:26

Boshi ken 拇指拳
00:49

Shikan ken 弛緩拳
02:00

Jodan uke nagashi 上段受流
00:35

Jodan uke nagashi 2 上段受流二
00:19

Gedan uke nagashi 下段受流
01:07

Gedan uke nagashi 2 下段受流二
00:22

Ukemi gohō 1 受身五法一
01:04

Ukemi gohō 1 受身五法二
00:35

Ukemi gohō 1 受身五法三
00:45

Ukemi gohō 1 受身五法四
00:34

Ukemi gohō 1 受身五法五
01:03

Keri kudaki 蹴砕

Breaking kick from natural stance

Your opponent will kick at you with zenpo geri with their right leg. Lift your left knee up and parry their kick in a sweeping motion toward your left, knocking them off balance. Return to a natural stance. This is a basic for of this technique and there are many variations of keri kudaki. This technique is to be trained to the inside and the outside when receiving the kick.

Keri kudakui 蹴砕
01:38

Zenpo keri 前方蹴

Begin from shizen no kamae. Lower the body by bending the knees making certain to not bend forward. Lift the knee to chest and stomp forward with the sole of the foot and return to shizen no kamae. The important points are to keep the lower leg horizontal with the ground and strike with the heel of the foot and maintain the kamae while doing the kick. Sensei stressed that the kick has the feeling of stomping outward, but the foot will return to it’s beginning point. The kicking point is with the heel.

Zenpō keri 前方蹴り
00:33

Zenpō keri 2 前方蹴り二
00:12


Core Concepts: Training keri with purpose
06:21

Kakushi keri 隠し蹴り
00:36

Kakushi keri 2 隠し蹴り二
00:28

Sokuho keri 側方蹴り
00:53

Koho keri 1 後方蹴り 一
00:42

Koho keri 2 後方蹴り 二
00:21

Tobi keri - kata ashi keri
00:21

Tobi geri - ryo ashi geri
00:22

Seigan no kamae 正眼之構

Sono ichi: Face your opponent in hidari seigan no kamae with the intent on forcing them to strike to your left side with their right fist. Control them. They will strike at you with migi fudo ken tsuki to the head level. With their strike, shift back to a forty five degree angle and receive their strike with hidari jodan nagashi. As they are imbalanced and before they are unable to recoil their strike, step in with your right foot into their center while striking to their uko with migi omote shuto ken. With this strike, do not use circular motion, rather drive them straight back in the direction they came from. This technique can be trained in many ways of course, but the basic techniques are to use omote or ura shuto ken. Practice receiving to the inside and outside and leaping away following the strike. Always maintain zanshin.

Sono ni: Both you and your opponent face each other in hidari seigan no kamae. Your opponent will strike at you with migi shikan ken tsuki or zenpo keri to the stomach level. Shift back to a forty five degree angle to the right and receive with gedan nagashi to the inside of their attack. Imbalance them and then step in and strike them down with ura shuto ken to the uko or kasumi. Leap away to seigan no kamae

Koppōjutsu moto gata 1 骨法術基型一
01:31

Hira ichimonji no kamae 平一文字之構

Sono ichi: Face the opponent in hira ichimonji no kamae with the intent on keeping close attention to everything happening around you. Your opponent will strike at you with migi fudo ken tsuki. Step the right foot straight back as though you are stepping into hidari seigan no kamae, while parrying their attacking elbow with the palm of your left hand. The feeling in this movement is to step back deeply, then spring forward and into them with a powerful attack to their neck. As you step back in with the right foot, direct their attacking arm in front of their body without losing contact. This will cause their body to twist, making them off balance. Strike with ura shuto ken to the point uko. Assume seigan no kamae and maintain zanshin.

Sono ni: In this technique your opponent will be striking or kicking to your stomach level. For this exercise, we will present the technique with migi fudo ken tsuki. As the strike comes close to the body, pivot to the right on the ball of the left foot while parrying their attacking elbow with the palm of your left hands. What is important on this technique is the correct use of the pivot and distribution of weight used to imbalance their momentum. Direct their striking arm downward while lifting your right arm straight in the air. Step in with the right foot while striking downward to the back of the neck with migi shuto ken. Done correctly, this technique will cause the opponent to fall straight down onto the stomach as it’s a difficult technique to roll out of when done correctly. Again, the important point is to imbalance the structural elements of their attack, redirecting their force and attacking the point of best opportunity. Assume seigan no kamae and maintain zanshin. This technique is trained on both sides.

Preview 00:46

Hira ichimonji no kamae 平一文字之構

Sono ichi: Face the opponent in hira ichimonji no kamae with the intent on keeping close attention to everything happening around you. Your opponent will strike at you with migi fudo ken tsuki. Step the right foot straight back as though you are stepping into hidari seigan no kamae, while parrying their attacking elbow with the palm of your left hand. The feeling in this movement is to step back deeply, then spring forward and into them with a powerful attack to their neck. As you step back in with the right foot, direct their attacking arm in front of their body without losing contact. This will cause their body to twist, making them off balance. Strike with ura shuto ken to the point uko. Assume seigan no kamae and maintain zanshin.

Koppōjutsu moto gata 3 骨法術基型三
00:57

Hōkō no kamae 抱囲之構

Begin by facing your opponent in hidari hōkō no kamae with the intention of smashing through their attack. Be certain to keep the inside of your arms hidden from oyur opponent’s sight. Your opponent will close their distance and attack with migi fudo ken tsuki. As they strike, enter inward with your left foot and under their attack. Lift their attacking arm upward and back causing them imbalance and turning their torso to their right. Lift both arms up when doing this movement inward. As they are knocked back, step in with the right foot, striking straight downward to their left collar bone with migi shuto ken. Done correctly, is will be impossible for them to roll out of this technique as the direction of impact into the collar is straight downward. Assume seign no kamae and maintain zanshin. This technique is done on both sides.

Koppōjutsu moto gata 3.2 骨法術基型三.二
00:34

Bōbi no kamae (防備之構)

Begin by facing your opponent in hidari bōbi no kamae with the intention of striking them down with a single blow. It is important to keep your right hand gently clenched without tension in your forearm, resting on the crook of your right hip. Your left hand is pointed straight ahead at their body. Keep your legs soft and ready to move. Your opponent will close their distance and attack with migi fudo ken tsuki. As they strike, shift to the inside of their strike and receive to the inside of their attacking arm with nagashi. Then strike them down with fudo ken to the center. This strike should knock them onto their back. Finish in bōbi no kamae. There are many variations to this basic, but the main principles should be kept in place.

Koppōjutsu moto gata 4 骨法術基型四
00:40

Kosshijutsu moto gata 1 骨法術基型一
00:19

Kosshijutsu moto gata 2 骨法術基型二
00:34

Kosshijutsu moto gata 3 骨法術基型三
01:03

This is hands-down one of the most misunderstood and poorly taught aspects to our martial art. This video will break down why a lunge punch is a dominant strike in this martial art early in ones training and the advantage this strike holds to helping you become a proficient technician. Crucial learning here, that is rarely taught correctly.

Core Concepts: Training tsuki with purpose
09:20

Quiz: Ken Waza
10 questions
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Ukemigata Taihenjutsu 受身型体変術 (Receiving techniques of the body)
25 Lectures 22:27

Zenpō nagare 前方流

Forward roll from a natural stance

Begin from a natural stance. Lower the body into a squat without the torso coming forward. Keep the back perpendicular with the ground. Tuck the coccyx in, then roll the body into a ball. Roll over the left shoulder and come up onto both feet and stand. It is important to eliminate the need for your hands in this roll by providing enough momentum to carry your body forward and onto both feet. Without losing your balance, stand straight up into shizen-tai. This technique is to be completed on both sides.

Zenpō nagare 前方流
00:34

Zenpō nagare 2 前方流二
00:23

Zenpō kaiten 前方回転

Forward roll

This technique will be done with an opponent behind and in front of you with swords. The opponent in front can be with or without a sword for testing. Unsui Sensei was very clear about the fact that mai ai is the most important point of this technique. It must be done with two opponents for testing. The opponent closes in from a far distance behind you and at an angle. Begin from seigan no kamae and the uke will face you in dai jodan no kamae. While in kamae, maintain awareness of the opponent behind and in front by looking to the side slightly, but without losing kamae. Your opponent will cut downward with dai jodan karatake wari. At the correct moment, shift your left foot to the outside of the cut while bringing your weight onto this leg. Place the palm of your lead hand on the ground, making the arm into a “c” shape. This “c” shape will work almost as a wheel while doing the roll. While lowering your body, roll over the left (leading) shoulder maintaining eye contact on the uke throughout the roll. Come up onto both feet without the assistance of your knee. It is important to create enough distance from the uke so that when they counter cut, they will not be able to reach you. When they cut, you will roll over the lead arm away from the first opponent who cannot then reach with a cut. Sensei said that for testing, the first opponent can cut or strike to check distance after the roll. Come up into seigan no kamae. To be trained on both sides, as well as leading into the roll with the lead shoulder.

Zenpō kaiten 前方回転
00:34

Zenpō otoshi 前方落

Forward drop

Begin in a squatting posture. Shoot the feet straight back, spread apart and land belly side down. When you do this, the forearms will be in front of you at a ninety degree angle to each other. Your hands will be in front of your forehead. When you land, the forearms and palms will absorb the impact along with the correct way to use your breath. Keep the body straight. It is also suggested that students use this posture for core strength conditioning as well.

Zenpō otoshi 前方落
02:58

Kohō otoshi 後方落

Backward drop

From a natural stance, lower the body straight down into a squat. It’ good practice in the beginning to cross your arms in front of your chest, but as you progress later, this will be done under many circumstances such has holding onto an opponent or a weapon. While squatting, tuck your chin and roll onto your back. When doing so, extend the left leg and tuck the sole of the right foot into the side of the left knee. When doing this technique in a manner suitable for training on a padded floor, it is acceptable to extend both arms to the side of your body and feather the impact of the fall with your extended arms. Outside of training in a controlled environment, such as a matted floor, this should not be done. When falling in this manner, bring your arms over your head with the palms facing inward. It’s extremely important to breath correctly when falling this way.

While doing kohō otoshi, be sure to not let your hips rise above the shoulders as you fall. Should this happen, commit to a back roll. Also, practice coming to your feet without the use of your hands while keeping your eyes and intention on a fixed point.

Be sure to train this falling techniques with both legs tucking.

Kohō otoshi 後方落
00:36

Kōhō nagare 後方流

Back roll from a natural stance

Begin from a natural stance. Lower the body into a squat without the torso coming forward. Keep the back perpendicular with the ground. Tuck the coccyx in, then roll the body into a ball. Roll over the left shoulder bringing the left knee to the ground. Do not let the right knee go to the ground, rather finish in a posture you with find while practicing shikkō. When coming to your feet, be sure to not have unequal weight distribution while standing. To eliminate strain, lift the left knee off the ground into a squat. Then stand to shizen-tai using both legs.

Kōhō kaiten 後方回転

Begin in shizen no kamae facing your opponent. They will be in seigan no kamae with bokutō. At the right moment, they will attack with tsuki to the head level. Drop straight down, not deviating to one side or the other, and perform kōhō kaiten. It is important that you maintain eye contact on the uke throughout the technique while rolling straight backward. Return to your feet, without the assistance of their hands and assume seigan no kamae.

Kōhō nagare 後方流
02:03

Kōhō nagare 2 後方流二
00:33

Yoko otoshi 横落

Side drop

This technique is extremely important to understand before you move on to training nage waza, throwing techniques. Begin in a natural stance. Extend the right arm in front of the body and to the left side. While doing this, also extend the right leg to the left side. Lower your body to the ground using your left leg and fall onto your right side. It’s important to not confuse this movement with a backfall as you must land on your side.

While positioned on your side, the right leg will be extended with a slight bend and the left foot will be on the ground behind the right knee. Keep tension in the right leg when doing this technique as you must protect the parts of your body where the joints are close to the surface area of the skin. Keep your chin tucked and the arms close to your body. As with the previous technique, there are different ways we train this technique. The first is learned with a feathering of the impact with the right arm extended. When training this without a matted floor, both arms must be tucked close to the body and the muscle mass of the shoulder is absorbing much of the impact.

As with the back roll, if the hips go above the shoulder line, you should commit to a side roll.

When coming to the feet, switch the legs and rock yourself up without using the assistance of your hands. There are several ways we learn in our basics to come to the feet from this position. Practice all of them while keeping your eye contact on a fixed point always.

Yoko otoshi 横落
03:34

Yoko nagare 横流

Side roll from a natural stance

Begin from a natural stance. Extend the right arm in front of the body and to the left side. While doing this, also extend the right leg to the left side. Lower your body to the ground using as though doing yoko otoshi and allow your momentum to carry you over your left shoulder. When doing this roll, it’s important to maintain your eye contact on a fixed point. Come up on your left knee and right foot in the same posture as shikkou. What is most important in this roll is fluidity in movement and maintaining awareness on a fixed point throughout the technique.

Yoko nagare 横流
00:52

Yoko nagare 横流 (against opponent)

Begin in shizen tai facing your opponent. They will approach you in dai jodan no kamae with bokutō and will attack with karatake wari. At the correct moment, extend one leg outward and in front of you to the side and quickly lower the body to the ground on the side of the body. It is important to get the tanden under tsuka. The extending leg will kick the weapon straight upward with sokuho geri while. Without stopping your momentum after the kick, roll over the high should and maintaining eye contact on the opponent. Assume seigan no kamae at a distance in which the opponent cannot reach you with an immediate cut.

Preview 00:29

Tachi nagare 立流

Escaping into a back roll while continuing forward

From a shizen-tai, extend your right leg straight out in front of you keeping the heel of your foot close to the ground. Lower your body straight down using your left leg, then immediately roll over the left shoulder. Continuing your momentum and without using the assistance of your hands, come back to your feet by having the right leg follow completely through without touching the ground. As the leg comes to the ground, begin walking forward, then do this again over the opposite shoulder. Assume shizen-tai.

Tachi nagare 立流
00:33

Yoko kaiten / Hiraichimonji no kamae
01:07

Jun nagare 順流

Escaping into a side roll from seigan no kamae, same side

Begin in hidari seigan no kamae. You will shift your weight back onto the rear leg and lower yourself deep. Place your right hand on the ground, pointing the fingers in the direction you are facing. Pivot your hips to the right and roll over your right shoulder. The important points are found in the correct footwork, completing the technique in a straight line back and keeping your eyes on a fixed point in front of you. Do not lose your zanshin as you come up onto two feet, then shift into hidari seigan no kamae. This technique is practiced on both sides.

Jun nagare 順流
00:36

Sokuhō kaiten 1 側方回転一

Side roll, first version (真剣型体変術 Shinken Gata Taihenjutsu – live sword form body changing art)

Both training partners will face each other. At the same time, your will assume seigan no kamae as uke assumes dai jodan no kamae with bokutō. Uke will cut from dai jodan no kamae with karatakewari. Lowering your body, shift back and place the rear hand to the ground with the palm facing in the direction of the opponent. This technique is essentially jun nagare against an opponent. Turn your hips away and roll over back shoulder while maintaining eye contact on the uke. Unsui Sensei stressed to me the importance of using the rear arm in this “c” shape, as in the previous technique. You must maintain focus on the opponent and return to seigan no kamae while coming up onto both feet. It’s important to lower yourself close to the ground while going into the roll. Be certain to roll straight backward, maintain zanshin and keep your kamae.

Sokuhō kaiten 1 側方回転一
00:25

Sokuhō kaiten 2 側方回転二

This technique is similar to the previous technique, only executed over the opposite shoulder. As you lower yur hips, focus on your opponent first under their lead arm, between the legs (if possible), and pivot their torso looking over the opposite shoulder. The lead arm will scoop around into the roll. Tori will roll straight backward and assume seigan no kamae. Tori will begin technique in one side kamae and finish on the opposite.

Sokuhō kaiten 2 側方回転二
00:41

Shihō Tenchi Tobi 四方天地飛

‘Heaven and earth’ leaping in all directions

From hira ichimonji no kamae, leap sideways forward, backward, straight upward and dropping down to the ground quickly. The important points in leaping are to control your balance on landing and use your legs correctly. Don’t cross your legs when doing this.

Shihō Tenchi Tobi 1 四方天地飛一
00:28

Shihō Tenchi Tobi 四方天地飛

‘Heaven and earth’ leaping in all directions

From hira ichimonji no kamae, leap sideways forward, backward, straight upward and dropping down to the ground quickly. The important points in leaping are to control your balance on landing and use your legs correctly. Don’t cross your legs when doing this.

Shihō Tenchi Tobi 2 四方天地飛二
00:38

Shihō Tenchi Tobi 四方天地飛

‘Heaven and earth’ leaping in all directions

From hira ichimonji no kamae, leap sideways forward, backward, straight upward and dropping down to the ground quickly. The important points in leaping are to control your balance on landing and use your legs correctly. Don’t cross your legs when doing this.

Shihō Tenchi Tobi 3 四方天地飛三
00:43

Fudōza Tobi 不動坐飛

Leaping straight upward with feet in front of you

From a shizen tai, leap straight up as high as you can while pulling your feet so that they are in front of you with the knees bent and the soles of your feet turned inward. The goal of this type of jump is to create the maximum distance between the ground and any part of your body. It is important to keep contol of your arms when jumping.

Shihō Tenchi Tobi 4 四方天地飛四
00:36

Tobi ori 飛折

Leap into a roll

From a natural stance, leap forward landing on both feet and roll over either shoulder without stopping. When landing, be sure to bend the knees deeply without losing your balance. Practice this technique leaping in all directions and from every kamae. Also, practice leaping for both height and distance.

Tobi ori 飛折
00:48

Hichou kaiten 飛鳥回転

Diving roll

From a natural stance, bend both knees deep and leap forward into a roll. When landing, be sure to not allow the head to impact the ground and continue your momentum up onto your feet into kamae. Practice this technique for both height and distance, as well as leaping over obstacles.

Hichou Kaiten 飛鳥回転
01:06

Yoko tenkai 横転回

Sideways flip

From a natural stance, leap sideways onto both hands and then spring back onto your feet. To begin training this technique, practice simple cart-wheels by placing both hands on the ground and stepping around them. Then gradually begin to get your feet higher into the air. As you become more comfortable with increased momentum, begin placing both hands to the ground at the same time, flip sideways and land on both feet. Practice this technique from every kamae.

Yoko tenkai 横転回
00:21

Hira no kamae 平之構

Opponent will close their distance and cut down with daijodan karatakewari. Begin in hira no kamae. At the correct moment, you will step back with either foot, turning away from the sword allowing the cut to pass close behind your lead shoulder. Lower your body in one movement and sokuho kaiten. If you step back with your left foot, the sword passes behind your right shoulder and you will roll toward 7 o’clock over the left shoulder. It is important to maintain kamae and zanshin throughout the movement. Maintain kamae at the end for three seconds.

Kosshijutsu ukemi gata taihenjutsu 1 玉虎流受身体変術一
00:39

Ichimonji no kamae 一文字之構

Beginning from hidari ichimonji no kamae, face the opponent as they approach you and then cut with daijodan karatakewari. At the correct moment, drop straight down and roll over your right shoulder, coming up onto both feet with your right knee close to the ground. Before the opponent is able to turn and counter cut, leap toward them by turing to the left, leaping and striking with migi boshinken to their butumetsu. Make certain that you do not stop after the first roll, or they will have time to turn and cut. Avoid, roll, leap, strike.

Preview 00:32

Jūmonji no kamae 十文字之構

Begin in jūmonji no Kamae. The opponent will walk toward you or approach with drawn sward and cut at you. At the correct distance, leap in quickly, striking with ura shuto to both sides of the uke’s neck and jump back to jūmonji no Kamae. The important point of this exercise is the correct use of hichōjutsu.

Kosshijutsu ukemi gata taihenjutsu 3 玉虎流受身体変術三
00:38

Ukemi Gata Taihenjutsu
10 questions
+
Nage Waza 投げ技 (Throwing techniques)
37 Lectures 57:42

Osoto Gake 大外掛

High outside hook

Your opponent will walk toward you and grip you in kumiuchi with the right hand and right leg leading. Step back with the left leg as they grip, and grip their right elbow sleeve with your left hand and their left lapel with your right hand. When they pull back, release your right hand and secure their keikogi (or trapezius muscle) at the top of the shoulder while stepping the left leg to the outside of their right, bending them backward. Drive your right hip into their right hip as they are bent backward. From this point, drive them to the ground over your right thigh. What is important is the correct use of your center of gravity, keeping it low and driving them down with relative ease. Finish in shizen-tai. This technique is trained on both sides.

When throw is complete, their shoulder line should be directly under your center. Hold them in this position for three seconds, then slowly move away in a direction over their head.

Osoto Gake 大外掛
01:07

Osoto guruma 大外車

High outside wheel.

Your opponent will walk toward you and grip you in kumiuchi with the right hand and right leg leading. Their intention is to throw you to the ground. Step back with the left leg as they grip, and grip their right elbow sleeve with your left hand and their left lapel with your right hand. Continue their forward momentum as they are gripping by slightly directing them forward, then as they pull back to regain balance. As they pull back, offer no resistance and shift forward to their right side causing them to lose their balance backward. Lift your right leg from the ground and outward across the back of both of their hips, just below the buttocks. Using your right hip, slightly lift them then kick the right leg back, spinning them over your leg. It’s important to regain balance quickly and correctly. This technique is to be trained on both sides.

Osoto guruma 大外車
00:31

Osoto gari 大外刈
00:18

Hiza guruma 足車

Knee wheel

Your opponent will walk toward you and grip you in kumiuchi with the right hand and right leg leading. Their intention is to throw you to the ground. Step back with the left leg as they grip, and grip their right elbow sleeve with your left hand and their left lapel with your right hand. Continue their forward momentum as they are gripping by slightly directing them forward, then as they pull back to regain balance, shift forward and place your left foot the side of their right knee. This technique must be done with caution as it’s easy to injure someone. Their knee will turn inward and they will lose balance backward. As they lose balance, pull the left leg back to it’s original position and take them down. They should will fall onto their left side in the same manner as ashi guruma. This technique is to be trained on both sides.

Hiza guruma 足車
00:23

Ouchi Gake 大内掛

High inside hook

Your opponent will walk toward you and grip you in kumiuchi with the right hand and right leg leading. Step back with the left leg as they grip, and grip their right elbow sleeve with your left hand and their left lapel with your right hand. When they pull back to regain their balance, cross step your left foot in front of your right while releasing your right hand from their lapel. Your right hand will secure the opposite lapel as you press your right forearm into their throat, causing them to bend backward. Meanwhile your right leg will wrap their rear leg (left). With their leg locked and balance broken backward, drop them down onto their back, then move away to prevent a counter kick from the ground. Finish in shizen-tai. This technique is trained on both sides.

Ouchi Gake 大内掛
01:05

Seoi nage 背負投
00:46

Yoko seoi nage 横背負投
00:31

Koshi seoi nage 腰投げ

Around the waist hip throw

Your opponent walks toward you and secures you in kumiuchi with the intention of controlling you. Capture their momentum as they grip your garment and throw them over your hip while bringing your arm around their waist. It’s important to not exert force to do the throw, rather capitalize on their momentum. Keep you back straight when throwing them. Finish the technique by moving away in shizen tai while maintaining eye contact.

Koshi seoi nage 腰投げ
02:18

Ippon seoi nage 本背負投

One arm shoulder throw

Your opponent walks toward you and secures you in kumiuchi with the intention of controlling you. Capture their momentum as they grip your garment and throw them over your hip while bringing your arm under their lead arm, securing their tricep in the crook of your elbow. Keeping control of their arm, bring them down to the ground so that their shoulder line is at your center. It’s important to use their lead arm correctly when acquiring kuzushi. Keep control of them for a moment, then move away over their head maintaining zanshin.

Ippon seoi nage 本背負投
00:26

Koshi seoi nage 2 腰投げ二
00:42

Ippon seoi nage 2 本背負投二
00:19

Kubi nage 首投
07:56

Ganseki nage 岩石投

For the description of this technique, we will assume that the opponent grabs your left sleeve and right lapel. Step back and drop your weight to your left leg, as though stepping into migi seigan no kamae. The right hand will be guarding. As the opponent pulls back to regain their balance, you will go in with this energy by offering no resistance. Done correctly, they will be anticipating resistance and by you providing none, they will lose their balance backward. As you enter, bring the left hand around to the top of their right bicep and clear their arms down and outward. Clear both hands stepping in with the left leg to the inside of their right. With this entering movement, guard to their eyes with your right hand while locking their right arm. The important point of this technique, very clearly defined to me by Sensei, was that there is no use of the locking arm employed when doing the throw. The guarding hand releases from the guard while pivoting the hips clockwise and shooting the left leg back to the inside of their right leg. The momentum created in the torso by powerfully pulling the right arm back is what creates the momentum of the throw and damages the arm. Pivot on the ball of the left foot while directing it back and throw them onto their back. Done correctly, this technique is nearly impossible to roll out of.

Preview 01:22

Ganseki ori 岩石折
01:03

Ganseki otoshi 岩石落し
00:35

Hane goshi 跳腰
00:29

Gyaku ippon seoi nage 逆 本背負投

Reverse one arm shoulder throw.

This is a common throw within the forms of our art and can be extremely dangerous if not trained correctly. Your opponent walks toward you and secures you in migi kumiuchi with the intention of controlling you. Capture their momentum as they grip your garment direct their lead hand downward creating a side load in their gripping fingers in order to not allow the grip. Pivot one hundred and eighty degrees so that this same side shoulder goes under their elbow. Step the left foot in front of them and throw them over your hip. When first learning this technique, come down onto the left knee and allow your training partner to safely complete the technique while their arm is being leveraged. Maintain control of this arm and keep zanshin throughout the movement. Move away over the head to shizen tai.

Gyaku ippon seoi nage 逆 本背負投
01:30

Morote seoi nage 双手背負投

Two handed throw over back.Your opponent walks toward you and secures you in migi kumiuchi with the intention of controlling you. Capture their momentum as they grip your garment and throw them over your hip while bringing your right arm under their right arm without releasing grip of their lapel. The first important point is to not allow your arm to remain behind you when doing the throw, but rather keep it in front of you. Next, be certain to not allow the wrist to bend backward. As you enter for the throw, you should have a feeling as though you are striking upward and under the jaw of your opponent while twisting their lapel. Throw them over your hip and control them on the ground. Move away over their head while maintaining zanshin.

Morote seoi nage 双手背負投
02:24

Katate nage 片手負投
00:58

Uchi mata 背負投
00:36

Ippon zeoi
01:28

Gyaku ippon zeoi
01:04

Yoko (nage) gaeshi 横返 Side reversal

As your opponent steps toward you to grip you in migi kumicuhi, receive their grip in the same manner, with your right hand gripping their lapel and your left on their sleeve. Directing their momentum forward, pivot your body to the right while extending your right leg outward and in front of their right leg. While doing this, bring your right hip under their center, bringing their torso tight you your right side. With your right leg extended, drop to your left side, throwing your opponent over your right side. It’s important to keep your center at a point between their feet when you drop. Quickly return to your feet and maintain zanshin.

Yoko nage 横投
00:47

Temakura 手枕
01:33

Sui nage 水投
02:34

Tomoe gaeshi 巴返 Top reversal (also Tate Nagare)

As your opponent steps toward you to grip you in migi kumicuhi, receive their grip in the same manner, with your right hand gripping their lapel and your left on their sleeve. Directing their momentum forward, by pulling them straight back. Step your left foot into the instep of their right foot and extend your right straight between their feet and behind them. Keeping their torso close to yours, drop straight down causing them to bend forward. As they bend forward, kick upward with your left shin into their genitals. This kick must be done by bracing with your shoulders and your right heel on the ground. Simply rolling into the kick with eliminate all power. Done correctly, they will be thrown powerfully on the crown of their head. For safety, release early and allow your training partner to roll from the technique. Pull your left knee to your chest while maintaining eye contact on your opponent as they roll. Roll to the left, coming to your feet quickly in kamae. Maintain zanshin.

Tate nagare 立流れ
01:16

Kuruma gaeshi 車返

This technique is the same as the previous, with the difference being that you will maintain your grip on your opponent as they roll and come up on top of them by rolling over your shoulder. Keep your body very close to theirs and complete the technique with jime. Roll away over the head and return to kamae.

Kuruma gaeshi 車返し
01:07

Kuruma gaeshi 2 車返し二
01:57


Omote gyaku gaeshi 表逆 返

This technique is an outside wrist reversal counter. As your opponent applies omote gyaku, first grip their fingers from the hand they are attempting to lock. This will happen at the same time you are following their momentum with yoko aruki. As they attempt their throw, go to the ground and spin on your back keeping both knees close to your chest. Spin around so that both feet are facing them and their arm is not between your legs. Pull the hand you are gripping into your hip closest to their leg. Using your outside leg, kick to their knee to break them down, then place the opposite leg over their arm locking it and driving them down onto their stomach. The important point is the placement of the foot and locking of their elbow with your leg. Finish the technique by using your free leg to strike kakato keri to their chi dome. Pull that kicking leg back quickly and back roll from the technique, quickly returning to your feet.

Gyaku waza 逆技: Omote gyaku / yoko nagare
02:06

Ura gyaku gaeshi 裏逆 返

This technique is an inside wrist reversal counter and is essentially the same as the previous. As the opponent applies ura gyaku on you, move forward and sink your body down to prevent the lock. Grip their fingers and roll over your outside arm, spinning to receive their arm and take them down in the same manner as the previous technique.

Gyaku waza 逆技: Ura gyaku / yoko nagare
00:58

Gyaku waza 逆技: Ura kote gyaku / zenpō tenkai
01:07

Gyaku waza 逆技: Ippon seoi nage / zenpō tenkai
00:27


Gyaku waza 逆技: Seoi nage / Koshi kudaki
01:05

Gyaku waza 逆技: Ura nage / koho tenkai
00:56

Core Concepts: Training zanshin with purpose
12:26

Quiz: Nage Waza 投げ技 (Throwing techniques)
10 questions
+
Torite Kihon 捕手基本 (hand grappling basics)
39 Lectures 49:11

Omote gyaku 表逆

The uke will grab your left lapel with their right hand. Receive by lightly placing your left palm on the back of your hand, then pivot on the ball of your left foot, protecting the groin from a counter kick, while hooking the fingers over the top of the thumb and directing the left elbow up and against the their right elbow. At this point it is important to not create an un-natural bend in the wrist. Create a lock in their elbow, causing the uke to release their grip of the lapel. Upon release, pivot off of their left and onto their right foot while brining the right hand across with metsubushi to the eyes. Secure the uke’s right hand with both the left and right hands while pressing the tips of your thumbs into the correct kyusho in the back of the hands, while splaying the hand back. Use yoko aruki to bring your opponent to the ground, making sure you do not create unnecessary distance between you. An important point is to focus on taking three steps during the take down and keeping the elbows tight to the body. Pin their arm to the ground at a forty five degree angle, preventing their counter and use take ori on their wrist. Move away in seigan no kamae over their head, while maintaining zanshin. This technique is trained on both sides.

Omote gyaku 表逆
01:25


Hon gyaku 本逆
00:42

Take ori 竹折
01:16

Ura gyaku 裏逆

Uke will grab your left lapel with their right hand. Receive by placing your left palm on the back of their gripping hand. Pivot on the ball of your right foot, protecting the groin from a counter kick while placing the palm of the right hand on top of their gripping right hand. At the same time as placing your right hand on theirs, use your elbow to guard and press into the crook of their gripping arm. Then rotate your left hand so that the fingers are directed downward and push downward. This creates a side load on the fingers which will cause a release of the grip. Roll their hand in a clock-wise direction so that the opponent’s fingers are pointed upward, while gripping this hand with both thumbs on the back of their hand. Keeping the elbows tight, yoko aruki to the right with three steps, rotating the palm all the way around and bringing uke to the ground. When doing this, it is important to keep the elbows close to the body and control where the opponent goes rather than allowing them to define where you goe. Pin their elbow to the ground, keeping their fore arm at a forty five degree angle and apply take ori to their wrist. Move away in seigan no kamae and maintain zanshin.

Ura gyaku 裏逆
00:42

Ura gyaku dori 裏逆捕
01:22

Omote kote gyaku
01:06

Omote kote gyaku 2
00:49

Ura kote gyaku 1
01:19

Ura kote gyaku 2
00:54

Omote oni Kudaki 1 表鬼砕一
02:14

Omote oni kudaki 2 表鬼砕二
00:38

Ura oni kudaki 裏鬼砕
00:43


Musō Dori 2 武双捕二
00:43

Musha dori 武者捕
02:59

Gōja dori 剛者捕
00:34

Ōgyaku 大逆
00:45

Oya Goroshi 親殺
01:28

Ko Goroshi 子殺
02:59

Te hodoki 手解: Sono ichi
03:46

Te hodoki 手解: Sono ichi (henka)
04:16

Te hodoki 手解: Sono ni
02:00

Te hodoki 手解: Sono ni (henka)
03:06

Te hodoki 手解: Uchi mawashi te
00:36

Te hodoki 手解 手解: Soto mawashi te
00:44

Te hodoki 手解: Fukiro oshi 1
00:35

Te hodoki 手解: Fukiro oshi 2
00:37

Te hodoki 手解: Kote gaeshi 小手返
00:46

Te hodoki 手解: Kakehiji dori
01:07

Te hodoki 手解: Yui gyaku
00:51

Te hodoki 手解: Ryo te uchi
00:55

Te hodoki 手解: Katate 片手
00:41

Te hodoki 手解: Kakae komi
00:36

Tai hodoki 体解: Ushiro tai shime / osoto gake
00:25

Tai hodoki 体解: Ushiro tai shime / ashi gyaku
00:41


Tai hodoki 体解: Tai shime / kosho ori
01:03

Tai hodoki 体解: Tai shime / kata guruma
01:29

Quiz: Torite Kihon 捕手基本 (hand grappling basics)
10 questions
+
Conditioning
6 Lectures 06:04

Shikkō 膝行 Knee walking

From za gamae, come up onto your right foot and bring your body forward. Slide the left side to follow and switch legs, coming down onto the right knee and lifting the left. It is important to keep the heels close together while doing this. You must be able to move not only forward, but backward and to each side.

Shikkō
00:50

Gekō
00:55


Ude tate buse
01:05

Tsuri doko
01:08

Oki agari taisou
00:56
+
Newaza 寝技 (non-standing technique)
31 Lectures 43:43
Hook / roll
04:05

Pass
03:22

Pass 2
01:21

Kihon uke gata
00:48

Kihon gatame
07:24

Zenpō kaiten 1 前方廻転一
00:34

Zenpō kaiten 2 前方廻転二
00:23

Sokuhō kaiten 側方回転
00:40

Yoko otoshi 横落
03:34

Yoko nagare 横流
00:52

Kohō otoshi 後方落
00:36

Kohō ukemi / ashi gatame
01:19

Kohō ukemi / ude gatame
00:43

Kohō ukemi / juji gatame
00:59

Kohō ukemi / tomoe nage
00:38

Kohō kaiten
00:37

Kohō kaiten / za gamae
00:33

Kohō kaiten 2
01:36

Kesa gata 1 袈裟固一
00:44

Kesa gata 2 袈裟固二
00:50

Jūji gatame 十字固
00:37

Waki gatame 腋固
01:01

Ichimonji no kamae 一文字の構
00:29

Hichō no kamae 飛鳥の構
00:37

Jūmonji no Kamae 十文字の構
00:21

Omote gyaku gaeshi waza 表逆返技
02:09

Ura gyaku gaeshi waza 裏逆返技
01:16


Musō dori 武双捕
01:36

Musha dori 武者捕
01:06

Oni kudaki 鬼砕
01:43
+
Shime waza 締技 (Choking techniques)
10 Lectures 09:23
Hon jume 本締
00:45

Gyaku jime 逆締
01:35

Katate jime 片手締
00:26

Sankaku jime 三角締
01:21

Kata jime 片締
00:30

Hagai jime
01:22

Hadaka jime
00:48

Itami jime 痛締
00:36


Choking variations
01:32
+
Kukishin Ryū Dakentaijutsu 九鬼神流打拳体術
29 Lectures 01:25:54
Introduction to Kukishin Ryū Dakentaijutsu Basics
00:28

Gohō no Kamae 五法之構 1
07:47

Gohō no Kamae 五法之構 2
04:09

Happō Uke 八法受け 1
02:32


Tewaza Kihon 1
02:41

Tewaza Kihon 2
03:05

Tewaza Kihon 3
02:54

Tewaza Kihon 4
02:41

Tewaza Kihon 5
03:36

Tewaza Kihon 6
02:52

Tewaza Kihon 7
03:30

Tewaza Kihon 8
01:53

Tewaza Kihon 9
03:02

Tewaza Kihon 10
02:50

Tewaza Kihon 11
03:26

Tewaza Kihon 12
02:33

Tewaza Kihon 13
01:44

Ken Waza 1
03:47

Ken Waza 2
04:16

Seion 生音 Shoden Gata
02:22

Suiyoku 水翼 Shoden Gata
02:36

Suisha 水車 Shoden Gata
02:00

Kubi Wa 首輪 Shoden Gata
01:32


Iso Arashi 磯嵐 Shoden Gata
02:31

Fubuki 吹雪 Shoden Gata
02:48

Kataho 片帆 Shoden Gata
03:56

Tatsumaki 竜巻 Shoden Gata
03:10
1 More Section
About the Instructor
Adam Mitchell
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87 Reviews
737 Students
3 Courses
Professional Martial Artist, Business Consultant and Speaker
About Adam:
Adam is a business owner and entrepreneur from New York, with an unconventional history of business success. He's a professional martial artist, community leader, keynote speaker, business consultant and family man.


He has just completed his first book on small business management called 'Running A Dojo, Commitment to Preservation'

Specialties:

Motivating people to create powerful, quality of life changing choices and products; from training kids to be warriors to guiding executives to profoundly impact in their market.