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2006 MARK J. TOTH
Kobudo Club Dojo-cho
Milwaukee, Wisconsin USA


TABLE OF CONTENTS

Acknowledgment.........................................................................................................................2
Foreword......................................................................................................................................3
INTRODUCTION------------------------------------------------------------------------------------------
Ko-Bu-Do....................................................................................................................................6
Kobudo Club................................................................................................................................7
Membership.................................................................................................................................8
TRAINING PROGRAM----------------------------------------------------------------------------------
Training........................................................................................................................................11
Dues & Fees.................................................................................................................................11
Uniform........................................................................................................................................12
Weekly Classes............................................................................................................................12
Schedule.......................................................................................................................................13
Ryu-Ha.........................................................................................................................................14
Etiquette.......................................................................................................................................15
Rules............................................................................................................................................16
KOBUDO WAZA ------------------------------------------------------------------------------------------

[ J ujutsu 10
th
Kyu Sho-dan syllabi are available in PDF format from www.genbukan.org]
Kobudo Club Manual / 2

ACKNOWLEDGMENT
The pedagogy of traditional J apanese martial arts (koryu) is very strange for Western
students. Where American students are generally encouraged to think for themselves and
question authority, the kobudo student is told to avoid thinking too much and learn to trust the
teacher (sensei). At first, this approach can strike one as irrational or even uncivilized, yet as one
begins to learn more about koryu this unusual approach begins to make some sense.
At the same time, I must admit that my current appreciation for this traditional
approach is due in no small part to the character and quality of the men I have thus far called
Sensei. First and foremost, I am grateful to my teacher, Michael Coleman-sensei, for giving so
much of himself in every lesson. For well over a decade now he has shared his knowledge of the
kobudo arts with me. I can honestly say that this knowledge has truly changed my life! Any
contribution that I am able to make to our Amatsu Tatara family would not be possible without
his patient instruction and generous support.
I am also grateful to his teacher, Shoto Tanemura-sensei, for providing all of us with
direct access to the art of the martial arts, Ninpo. I first encountered Tanemura-sensei many
years ago at my first International Tai Kai, in Milwaukee, Wisconsin. The impression he made
on me confirmed my decision to join the Genbukan and, in the many years since, has
strengthened my resolve to keep training. I had never met a person so powerful yet so gentle, so
skilled yet so humble and kind. He has been a role model for me ever since, not only because of
his embodiment of the Ninpo arts, but also because of his humanity and moral character.
Unworthy as I am, I consider myself privileged to follow in the path forged by these great
martial artists. To them I say, with profound gratitude, domo arigato gozaimashita!

Mark J . Toth,
Kobudo Club co-founder and dojo-cho

Kobudo Club Manual / 3

FOREWORD
Most students who join the Kobudo Club come to us with little or no prior knowledge of the
martial arts. Of course, they are well acquainted with the Big Screen action heroes who, always
out-manned and out-gunned, prevail over a host of enemies. Perhaps these compelling images
inspired a few students to take lessons for a short time at a gym or martial arts studio in J udo,
Karate, or Tai Kwan Do? Unfortunately, if ones perception of martial arts is limited to media
characterizations or even the popular twentieth century styles, then one is likely to have a very
one-sided view of martial arts as a whole. In our view, it is better to come to Kobudo Club with
no prior knowledge of martial arts than to bring false expectations or bad habits.
Those of us associated with traditional J apanese martial arts (kobudo) take a completely
different view of things. When we think of martial arts we imagine a time, several hundred years
ago or more, when skill with a sword was just as important as literacy or other cultured pursuits.
1

The ability to protect ones self was part of a well-rounded cultural education, and this was as
true in many parts of the West as it was in the East.
Traditional J apanese martial arts were developed for real life self-defensewhether on a
battlefield during times of war or even during peace time because law enforcement was scarce
where the only practical goal was to preserve one's life. Techniques handed down from one
generation to the next were those that proved successful in actual defense situations. There is a
world of difference between going a few rounds with an opponent and surviving a real attack
from an enemy who has no regard for your life!
Twentieth century masters realized this fact very well, and frequently pointed this out to their
students. For this reason, we begin this Guide with a short essay written by Shoto Tanemura,
current grandmaster (soke) and president (kancho) of the Genbukan World Ninpo Bugei
Federation (hereafter, GWNBF) and Kokusai J ujutsu Renmei (hereafter, KJ J R). Tanemura-soke
writes about the difference between the modern sport martial arts (gendai budo), which steadily
grew in popularity during the twentieth century, and the traditional martial arts (koryu budo) that
predate these forms.
On True Budo
By Grandmaster Shoto Tanemura
Do you understand the difference between sport Budo and real Budo? Sport is for
competition. It is full of rules, including those that assure people of safety. For example,
a participant should not kill or be killed. The person who practices sport martial arts
will need strong muscles, but just consider this: an animal is stronger! Of course, sport
has its good points. I know them well. But the true J apanese martial arts cannot be made

1
For example, during J apans Edo period (17
th
to 19
th
centuries), a well rounded cultural education might
include the following arts: Sado (art of tea), Kado (art of flower arranging), Kodo (art of fragrance), Shodo
(art of writing, i.e., calligraphy), Buyo (J apanese dance), and Budo (minimally, J ujutsu and Kenjutsu), as
well as religious practice (usually a Shinto-Buddhist syncretism). History records that many prominent
figures from the Samurai (warrior) class also were known for their poetry, calligraphy, or painting.
Kobudo Club Manual / 4

into a competition for the simple reason that fighting is a life or death matter, and not
something to be taken lightly.
The Ninpo martial artist never surrenders the spirit of, "I will win!," even when he is
dead. If a Ninja is physically weak, then he uses his head; if his head is weak, then he
uses and coordinates his technique and spirit. Whether one is a woman, child, or an aged
Ninja, when an attack comes, one must possess the spirit of "I will win!" How to survive
is one of the essences of Ninpo.
True Ninpo techniques involve the ability to change the impossible into the possible.
We have the ability to make our physical body and spirit strong. True beliefs (spiritual
knowledge) are given to one by God, and so strong intuitions can help one to survive.
Well, how does one go about answering the question, "What is Ninpo?," in one
sentence? I would reply, "Ninpo is the True Budo, the True Religion, and the True Art."
So what is True Budo? It is a combination of shingitai (physical techniques and spirit)
combined with the powerful light of butoku (martial virtue). Do not dwell on things such
as winning or losing, or being skillful or not skillful. True Budo is the way to defend
one's body, one's heart, and ones God. These are Ninpo's three jewels, the Sanpo Hiden.
Next, the True Religion, the sattori (comprehension) of the truth, is the knowledge
that spirit and body are one, and understanding the purpose and mission of life. Try to be
happy together. By doing this, the truth will last forever. This is taruma (daruma). The
reality (truth) of the human person is that the soul/spirit has a life before birth and after
death. There is never just an end. These things one has to comprehend the first time. The
martial art that does not have this true religion is merely a sportviolent techniques for
killing and/or techniques for winning money and fame. These qualities degrade an art and
separate it from true martial arts.
Finally, I must explain what the True Art is. The art encompasses one's complete
personality and character, and has the ability to move an onlooker's heart and soul. It
matters not which country one comes from and, least of all, whether one is female or
male. Everyones heart and soul can be moved by just looking, hearing, touching or
doing. Art is not just simple fashion; it is created by hard training of the heart, soul, and
spirit. The way is very long.






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Kobudo Club Manual / 6

KO-BU-DO (old martial way)
To fully appreciate what Kobudo Club is really all about, one needs to have a better understanding of
the J apanese term, kobudo. Kobudo is a broad term that refers to the great variety of traditional or
old-style martial arts of J apan.
2
The distinctiveness of the kobudo arts is best understood in
contrast to something more familiar, such as the modern martial arts. Martial arts popular in
America todayTai-Kwan-Do, Okinawan Karate or J udoare really sports. A sport prepares
students for competition, a game with rules to maintain order and a point system for determining
a winner. Clearly, there are many benefits to participating in a sport, and we are all quite
familiar with them.
By contrast, the kobudo arts were developed for real life self-defensewhether on a
battlefield during times of war or even during peacetime because law enforcement was scarce
where the only goal was to preserve one's life. Techniques handed down from one generation to
the next were those that proved successful in actual combat situations.
How do the kobudo arts prepare one for real combat and why is this approach to self-defense
training superior to that of the contemporary sport martial arts? The superiority of the traditional
J apanese martial arts has to do both with their content and method of training. We have already
provided some clue about the content: all the traditional J apanese martial arts were developed for
defense in actual combat situations. An illustration from our own family tradition will help to
convey the significance of this point.
One of the J ujutsu schools we study is a branch of Takagi Yoshin Ryu, originally founded in
1645. An early headmaster of this school was responsible for castle security, which means that
its techniques were taught to all the castle guards. In light of this special application, the school
developed to specialize in indoor fighting, with many techniques performed zuwari (seated) and
at relatively close range. The repertory of techniques associated with this school still reflects this
historical influence to the present time. This example illustrates a common feature of the kobudo
schools: each was developed out of a particular historical exigency, and this concrete practical
need shaped the art into a unique collection of physical and spiritual teachings.
The method of kobudo training is also very traditional. This means that wherever authentic
kobudo training occurs today, whether in its home country or abroad, the form of training is
reminiscent of the way that samurai warriors developed and maintained their extraordinary skills
hundreds of years ago. The genius of this approach is to combine physical with mental and
spiritual training. As one author explains,
[t]he ideal of this ... approach to mastering any skill was to achieve the highest possible
level of physical ability in combination with a mental state of muga, meaning self-
effacement or ego-lessness a state in which the mind does not interfere with the
actions of a trained body. In other words, if you have trained your body to perform the
functions of a juggler, for example, and can achieve a mental state of muga, then
performing the juggling functions perfectly is as easy as thinking them. A superbly
trained samurai swordsman in a state of muga was therefore unbeatable because he could

2
No doubt most people are more familiar with the term J ujutsu. J ujutsu refers to the empty-hand martial arts that
flourished in Japan during the Edo period (17
th
19
th
cent.), a time when J apan was ruled by its Samurai class.
Kobudo Club Manual / 7

defend himself against any move by an opponent, and perform perfectly any offensive
move he attempted.
3


There are specific strategies for developing this unity of mind and body, intention and action.
For example, repetition is a common feature of kobudo training. Techniques are drilled over and
over again so that the body remembers. Of course, there are many other features that make
kobudo training distinctive, but these are best taught by example and understood through
personal experience. The main point here is that in the traditional J apanese martial arts, content
cannot be separated from method. You cannot effectively learn the art of J ujutsu, for example,
without using the traditional style of learning J ujutsu techniques. This combination of specific
content taught according to a certain method is what makes kobudo not only distinctive, but more
importantly, highly effective.
One important characteristic of the old-style training is that it leads to self-control and
compassion. People are often surprised by this fact, but it makes sense when you consider what
is really going on. First, the actual techniques practiced in training are very effective. They were
designed to enable a warrior to completely overwhelm his opponent. Because of its power and
effectiveness, students are only exposed to a technique when they have developed a sufficient
level of control, humility and patience to use it. Kobudo students learn to apply techniques with
exacting control so that the minimum amount of damage is inflicted in the process of defending
oneself. Ironically, the more powerful one becomes as a result of this training, the more
reluctant one is to use this power in real life.
Another reason that the old-style training leads to compassion is that the method aims to
suppress ego rather than enhance it. The ideal state for a kobudo-ka (one who practices the
traditional J apanese martial arts) is one of calmness in the face of adversity. Contrast this with
the ideal state for the typical athlete, such as a basketball player. What coach would want his or
her players to go out on the court in an ego-less, almost trance-like state? Rather, sports require a
certain measure of emotional enthusiasm that translates into motivation. In fact, sometimes this
enthusiasm can propel athletes beyond their actual level of skill. Athletes get pumped up for a
competition, teams put themselves into a sort of group frenzy before a game. Not so in kobudo.
The kobudo-ka spends time meditating, quieting the mind and emotions before engaging in
training. There is no enhancement of emotion or ego here. In fact, we believe that emotion and
ego get in the way of good technique. In our experience, the longer one trains in traditional
J apanese martial arts, the more self-controlled and compassionate one becomes.
KOBUDO CLUB
Now that you have a better understanding of the term, kobudo, you are in a much better
position to appreciate our organization. Kobudo Club was created in order to provide university
students with convenient and affordable training opportunities in the traditional or old-style
J apanese martial arts. The organization is an outgrowth of the mission of Futen Shibu (region),
Michael Coleman, kyoshi (master instructor) and shibu-cho (regional director). Futen Shibu is a
branch of the GWNBF and the KJ J R. Mr. Coleman is Tanemura-sokes highest-ranking student
in the United States.

3
Boye Lafayette De Mente, The Japanese Have a Word for It, Passport Books, 1997, p. 265-6.
Kobudo Club Manual / 8

Because the modern university campus presents a very different setting from that of the
typical urban community, Kobudo Club is modeled after the student group or organization rather
than the traditional J apanese dojo. Student groups evidence a fairly consistent structure from
campus to campus: a minimum number of officers, performing basic organizational functions,
defined by a set of self-imposed rules or bylaws. Though simple in design, this basic democratic
model has proven successful on American college campuses for over a century. Because of its
wide acceptance, the student group seemed like the best organizational model for Kobudo Club
university groups.
The first Kobudo Club university group was established at Marquette University
(Milwaukee, Wisconsin) in 2002. The present author, an experienced higher education
administrator and a student of Mr. Coleman for more than a decade, submitted a formal proposal
to form a new student organization at Marquette University in the summer of 2002. Initially, the
group was given permission only to do promotion on the Marquette campus, and during the fall
semester weekly classes had to be held at an off-campus location. Finally, toward the end of the
fall semester the group was officially recognized by the university and in J anuary of 2003 began
holding its first training sessions on campus.
Initially, Kobudo Club spread to several other university campuses in Wisconsin. These
groups were close enough to the Futen Shibu to fully participate in the special seminars and
training events that it sponsored. As Kobudo Club continues to grow, perhaps beyond
Wisconsins borders, one essential feature of the organization will remain true: our strength lies
in the vast repertory of kobudo knowledge and experience possessed by Tanemura-soke, and the
Futen Shibu is our connection to this source. By maintaining this line of kobudo authority and
transmission, Kobudo Club maintains its distinctiveness among university martial art groups.
MEMBERSHIP
How can someone become a member of Kobudo Club? Any student, faculty, or staff member
at a university that has an existing group can join Kobudo Club. Prospective members are invited
to attend a beginner level class to determine if kobudo training is right for them. Once a decision
has been made to become a member, the group instructor will provide more information about
training and collect semester training fees.
4
Benefits of club membership include: participation in
weekly training classes and social events; annual membership in the KJ J R, an international
J ujutsu organization based in J apan; and discounts on training aids (KJ J R books and CDs) and
special training events (e.g., Shibu Kai and International Tai Kai).
After completing the program (passing KJ J R Shodan level), some Kobudo Club students will
be invited to continue participating in Kobudo Club as an instructor. This is a great way to
expand ones knowledge of the art and share ones enthusiasm with new members. Prospective
instructors are required to complete an instructor training program conducted by the Futen Shibu.
The training program focuses on broadening a students knowledge of the kobudo tradition while
developing the skills necessary to successfully lead a small group of students. A student who
seeks to be admitted into the instructor training program will need a personal recommendation
from the Kobudo Club dojo-cho.

4
See Dues and Fees below, p. 5.





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Kobudo Club Manual / 11
TRAINING
At the heart of Kobudo Club is a commitment to training. Only those students that make a
personal commitment to training i.e., attending weekly classes will be allowed to advance in
the program. Instructors volunteer their time, and do not benefit personally from having a large
student roster. In fact, most kobudo instructors prefer to work with a small number of dedicated
students.
5
Space is limited, and members who do not attend classes regularly will be dropped
from the roster to make room for others. Inactive members
6
who decide to resume their training
will be asked to retake their last kyu-level test before progressing on to the next level.
Training teaches not only useful self-defense skills, but certain spiritual benefits as well.
Kobudo Club members aspire to become more compassionate in their everyday lives, pursuing
peace and harmony with their community. In our tradition, this attitude is referred to as the spirit
of Ninniku," and it is given equal weight to good martial art technique. During training, we
stress personal safety and having patience with one another. Every member is respected as a
fellow traveler on the path of physical, mental, and spiritual development.
DUES & FEES
It is customary for student organizations to assess dues from its members. The monies
collected are normally used to purchase goods and services that benefit the entire group.
Individual university groups may or may not choose to operate this way. However, if dues are
assessed each semester, they should be used in service of the main goal of Kobudo Club, i.e.,
training. Dues collected should be used to purchase equipment (e.g., mats) or pay for
transportation and registration fees for the annual training events, i.e., Amatsu Tatara
International Tai Kai and Shibu Kai.
The strength of Kobudo club derives from its regional and international affiliations. While
regular training opportunities are free and a privilege of membership, there are fees associated
with services provided by the Honbu Dojo and with the special training opportunities sponsored
by the Futen Shibu. For example, everyone who decides to join Kobudo Club is expected to join
the KJ J R. New members must submit a completed KJ J R application form,
7
two passport photos,
and a check for $35 payable to Kobudo Club. Group instructors send all application materials
to the Kobudo Club dojo-cho, who forwards them on to the Honbu Dojo. Once approved by
Grandmaster Tanemura, a new member will receive a membership booklet for recording rank
promotions, a uniform patch, and a Welcome Letter. KJ J R membership is good for one academic
year, and must be renewed annually for a $25 fee.
8

Only Kobudo Club students who are also members of the KJ J R may test for rank promotion
each semester. The certificate fee for beginner through intermediate levels (9
th
Kyu through 4
th

Kyu) is $40 and, for advanced levels (3
rd
through 1
st
Kyu), $60. After successfully completing a
test, a student must submit the proper certificate fee to the instructor, who will then stripe their

5
In most cases, the number of active students in each university group is limited to 10 or 12 per instructor.
6
Defined as a lapse in attendance of 3 months or more.
7
A copy of the application form can be found in the Attachments section below.
8
As most new members will join the organization during the fall semester, this is the time when all application and
renewal fees are collected.

Kobudo Club Manual / 12
belt to signify the new rank. Students receive a grade-specific certificate from the Grandmaster
to certify their achievement.
Every Kobudo Club member will have the privilege of training with Tanemura-soke at the
annual (fall) American Tai Kai, held in Milwaukee. Because of the importance of this event,
every Kobudo Club member is required to attend at least one public session of the Tai Kai. The
first day of public training (Saturday) focuses specifically on the needs of Kobudo Club
members. At the same time, Kobudo Club members are highly encouraged to attend both
morning and afternoon sessions. Kobudo Club members pay a special discounted price of only
$50 per Tai Kai public session.
Another important training event is the annual (spring) Futen Shibu Kai. This special two-
day event provides an opportunity for all Kobudo Club members to gather for training and
camaraderie. At this event, the Shibu-cho will offer instruction in a broad range of techniques,
drawn from the Kokusai, Genbukan, Koryu, and Hakkesho curriculums. All Kobudo Club
members are required to attend this two-day event. Kobudo Club members pay a special
discounted price of only $50 for the entire two-day event.
UNIFORM
Proper attire can make training a more pleasurable experience. J ujutsu training will involve
grappling and throws that would be much too rough for even normal athletic wear, not to
mention street clothes. Consequently, the industry has created special garments that can stand up
to the rigors of training. Beginning students may wear a long sleeve, loose-fitting sweatshirt,
sweatpants, and socks. However, before taking their first kyu-level test (9
th
Kyu), students must
obtain a black, heavy weight training uniform, heavy black socks (or J apanese tabi), and white
and green J udo-style belts.
9
The KJ J R patch (provided to every KJ J R member) must be
permanently affixed to ones training uniform over the heart. If an instructor chooses to have his
or her class wear hachimaki (headband), these should not be worn during the Shinzen Rei
ceremony (before and after training).
WEEKLY CLASSES
Weekly classes include a number of related activities, designed to provide a well-rounded
training experience. Each class will include training in three basic skill-areas: J unbi Undo;
Taihenjutsu; and J ujutsu.
J unbi Undo (warm up). Preparation for kobudo training consists of several elements. First,
yoga-style stretches are done to increase flexibility and prevent injury to muscles and connective
tissues. Second, simple exercises, such as push-ups and abdominal exercises (e.g., Pilates), are
used to strengthen those parts of the body that receive extra stress during training. Finally,
repetitive Daken Drills are used to strengthen the heart and circulatory system and practice
basic punching and kicking forms.
10


9
The white belt is worn during 10
th
Kyu level only. A green belt is worn from 9
th
Kyu through 1
st
Kyu, and a black
stripe is added to signify each level of promotion. See Recommended Uniform under Attachment section for
sample products.
10
See diagram of stretching exercises in Attachments section below.

Kobudo Club Manual / 13
Taihenjutsu (body movement art). These body movement skills provide a foundation for all
traditional J apanese martial arts. Training consists of learning and practicing the receiving
forms, such as rolls and breakfalls, as well as the avoiding forms, such as escapes from sword
cuts or projectiles (shuriken).
J ujutsu (gentle art). Literally, ju-jutsu means, art of suppleness, flexibility, pliancy, or
gentleness. In general, the term refers to a method of employing technique, turning the human
body into a weapon in unarmed combat. In terms of combat strategy, the principle of Ju
consists in adapting flexibly and intelligently to the strategic maneuvers of an opponent to use
his/her maneuvers and the force behind them to neutralize the attack.
11
We use the term here to
refer specifically to the actual waza (methods or techniques) from the ryu-ha (non-hereditary
schools) that comprise the KJ J R, and in which Grandmaster Shoto Tanemura holds Menkyo
Kaiden (full mastership). J ujutsu is the heart of Kobudo Club training and the majority of class
time will be devoted to practicing kyu level material.
12

SCHEDULE
We assume that everyone who joins Kobudo Club does so with a conscious intention to grow
in their ability to defend themselves from aggression or violence, that is, for protection. This is a
laudable goal and even periodic attendance will enable one to make progress toward it. Some
members will be satisfied with this level of investment.
However, we understand that most participants are looking for something more from their
kobudo training experience. What is it that motivates so many people today to pursue these noble
arts? Perhaps what they seek is self-improvement? According to one author, we should study
martial arts today for perfectionof the mind, of the body, and of the spirit. Through endless
effort of practice for perfection, you will find the ultimate in protection.
13
The Kobudo Club
program has been designed to help students pursue this goal as well. In fact, students who
continue to study J ujutsu or any of the other kobudo arts beyond the kyu levels will find a strong
focus on spiritual training.
To mark the milestones along their journey, students can earn progressive rankings in the
KJ J R, an internationally recognized J apanese martial arts organization that specializes in
traditional-style J ujutsu training. The program plan below (next page) is meant as an example
only. It is based on regular (i.e., weekly) class attendance, with additional practice outside of
class, during fall and spring semesters.

11
See Oscar Ratti and Adele Westbrook, Secrets of the Samurai, Charles E. Tuttle, Rutland, Vermont, 1992.
12
An important feature of the Kobudo Club curriculum is that it focuses heavily on the basics. As students gain
more experience with J ujutsu, they will begin to distinguish between two types of waza (techniques): kihon, the
basic parts of a kata (form or pattern), such as a punch, kick, or throw; and the actual kata that appear in the ancient
scrolls. The Kobudo Club program is designed to provide students with a solid grounding in traditional J apanese
waza. With this foundation, students can go on to study virtually any kobudo art with greater ease and success.
13
Darrell Max Craig, J apans Ultimate Martial Art: J ujitsu Before 1882, the Classical J apanese Art of Self-Defense,
Charles E. Tuttle, Rutland, Vermont, 1995, p. 25.

Kobudo Club Manual / 14

Year I Beginner Level (9
th
Kyu 7
h
Kyu)
Year II Intermediate Level (6
th
Kyu 4
th
Kyu)
Year III Advanced Level (3
rd
Kyu 1
st
Kyu)
Year IV Sempai Level (Sho-dan Gata)

It must be emphasized that advancement is not guaranteed by class attendance (i.e., time)
alone. Advancement also requires effort and successful mastery of waza, along with certain
Budo virtues or habits (elements of ones character). Readiness for advancement is demonstrated
by the successful completion of a test, designed to measure a students mastery of the kyu level
material. Testing will be conducted each semester, generally toward the end of the semester but
before Final Exams. Any student, with the consent of their instructor, may test for up to two
levels at one time.
RYU-HA
Throughout their training, from 9
th
Kyu through Sho-dan levels, students will study waza
from several J apanese koryu (old schools), including the following:
Kuki Shin Ryu (founded 1338)
Asayama Ichiden Ryu (founded 1578)
Takagi Yoshin Ryu (founded 1645)
Advanced kobudo study may include material from the Ninpo bugei. These specialty arts,
sometimes referred to as the Ninpo Sanjurokkei (36 skills), are composed of 18 Samurai arts
(bugei juhappan) and 18 Ninja arts (ninja juhakei). Examples of these specialty arts include:
J utaijutsu (older form of J ujutsu), Dakentaijutsu (old unarmed style specializing in punching and
kicking); Koppojutsu (unarmed style specializing in strikes to bones); Kosshijutsu (unarmed
style specializing in finger tip strikes); Bikenjutsu (secret sword arts, including use of blades of
different lengths and projectiles); Naginatajutsu (curve bladed spear); and Sojutsu (spear).
Typically, students will be exposed to these amazing arts only at special training events
sponsored by the Futen Shibu.
Students who express an interest in further study of the Ninpo bugei may be invited to join
the Genbukan World Ninpo Bugei Federation. In November 1984, Tanemura-soke established
the Genbukan Dojo for the preservation and transmission of authentic J apanese Ninpo. The
Genbukan focuses on the factual portrayal and teaching of the Ninja arts in a traditional J apanese
manner.
ETIQUETTE
For the safety and proper development of all members, training is conducted within an
atmosphere of seriousness, mental awareness, and respect. These qualities must be maintained at
all times, and if a student's behavior begins to negatively affect the general training atmosphere,

Kobudo Club Manual / 15
that student will be asked to leave immediately. Such dismissal is not meant as a personal
judgment against the student, but simply recognizes that she/he does not possess the proper
attitude to safely engage in training at that time. However, repeated dismissals may affect one's
status in the Kobudo Club.
Seriousness. Kobudo, or old-style J apanese martial arts, is always practiced with life-or-
death realism. Even when techniques are practiced under controlled conditions, such as in a
training hall or dojo, the intended application of these techniques is always an actual conflict
situation. As training must prepare students for potential real life encounters, each execution of a
technique, even when done at training speed,
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must be done with the same level of
seriousness that one would have if actually facing an enemy. There are no rules in true
application of J apanese kobudo, and one always trains to win!
Mental Awareness. Because of the danger inherent in what we do, students must always
maintain an awareness of the movements of others. For example, training sometimes involves
the use of sharp tools (i.e., weapons) or potentially harmful techniques, so care must be exercised
to prevent injury. When training, one must be aware of the movements taking place immediately
to the left, right, front, and back. If this awareness is ever lost, the potential for injury certainly
increases. In this respect, training is also preparation for life, where one seeks to develop a basic
posture of awareness of one's environment.
Respect. Training in true J apanese kobudo involves a number of rituals meant to convey
respect. For example, before beginning and after completing every technique, training partners
bow to each other. Sometimes words accompany this bow, sometimes the bow is done
silently. In any case, students always should use this bow to convey respect and gratitude to their
partner.
Similarly, one bows when entering and before exiting the training area. In this case the bow
is directed to a central focal point in the training area, a shrine (kamidana) or special scroll, but
implicit in this action is the intention to show respect to everyone in the training area as well as
to the space itself, which holds specialalmost sacredsignificance.
Finally, before starting class and at the end of training, the instructor will lead all students in
meditation and a special bowing ceremony, or Shinzen Rei.
1. At a signal from the teacher, all students line up in rank order, right to left, facing
the instructor. As the instructor sits in Seiza, all students follow suit.

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I like to distinguish between training speed, testing speed, and real speed. Training speed is slow enough to
prevent injury and permit careful execution of a technique by someone who has not yet mastered it. There seems to
be a practical, though ironic, truth that every student learns in time: the most dangerous person in the dojo is the
white belt! This is because he or she has learned a dangerous technique, but has not learned how to control it yet.
Compared to training speed, testing speed demonstrates ones first mastery of a technique. More than simply going
faster, this pace must display confidence, control, and precision. At the same time, no one expects someone to have
really mastered a technique by test time. What is expected is that one has practiced the technique sufficiently so that
ones body has memorized the movements and unique dynamics contained within it. Finally, there is real speed,
what happens on the street. It is impossible to practice at this level in the dojo, but according to the masters it is
possible to prepare for it. Their constant advice is to TRAIN HARD!

Kobudo Club Manual / 16
2. At the command, Mokuso!, everyone sits up straight, with shoulders relaxed,
hands forming a circle on the lap, with eyes closed. During the meditation period, each
student clears his or her mind of all thoughts, achieving a state of Mizu no Kokoro
(Mind-like-water).
3. After a period of meditation, the teacher calls, Yame!, to signal the end of
meditation and the beginning of the benediction (Kotodama).
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All eyes open, the teacher
turns around to face the scroll or shrine along with the students. With folded hands, the
teacher recites the benediction, Shikin, Haramitsu, Dai Komyo.
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The class repeats the
benediction, then all clap twice, bow, clap once more, and bow again.
4. The teacher turns back around to face the class. The highest ranked student then
says, Shisei o Tadashite, Sensei ni Rei" (Sit up straight, present yourself to the teacher).
The other students respond, Onegai shimasu (Please teach me).
5. A similar ritual is repeated at the end of class, but this time there is an additional
bow to ones fellow students (Sogo ni rei), and the students respond, Arigato
gozaimasu (Thank you!).
These and other rituals are more than a carry-over from the past. They serve to remind us that
what we are doing is very serious (in fact, dangerous!), that we must have proper respect for our
self and our training partners, and that we must remain humble before those who have already
traveled this path (the teacher and higher ranking students) and especially before God, the
ultimate source of truth and power.
RULES
In ancient J apan, it was considered a privilege to study with a particular master, and not
everyone who wanted to train was accepted as the personal student of a master. Martial arts
knowledge was carefully guarded, and each level of advancement implied the deepening of a
trust relationship. As trust between teacher and student increased, so too the amount of
information that could be shared, the ultimate goal being full transmission of a martial tradition
(ryu-ha).
To provide new students with basic behavioral expectations, it was customary for masters to
post rules of conduct for new students. In keeping with this tradition, the following rules will
govern all Kobudo Club training events:
1. Students must be physically and mentally prepared to participate in training. If
there is any question about someone's physical preparedness, a doctor's note may be
required by an instructor. Students must notify their instructor of any physical problems
before beginning training.

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In the advanced classes, meditation is followed by recitation of Ninja Seishin, a traditional Ninpo poem preserved
by the Amatsu Tatara tradition.
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Shikin has four dimensions: a merciful heart expressing love for everything; a sincere heart to follow what is
right; a heart in tune with the natural order; a heart dedicated to a chosen pursuit. Together these elements produce
Haramitsu, great wisdom, which results in a powerful aura, Dai Komyo. Cf., Shoto Tanemura, Genbukan Ninpo
Bugei, Fundamental Taijutsu, Vol. I, Genbukan World Ninpo Bugei Fderation Honbu, 1993.

Kobudo Club Manual / 17
2. Students must show proper respect when addressing or responding to the instructor
(sensei or sempai)
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, and get permission from their instructor before engaging in any
activity while in the training area. Also, students must show courtesy and respect for each
other, and for the training area, using the appropriate signs of respect (bowing, etc.).
3. Students must keep the training area clean and uncluttered. No shoes or sandals are
to be worn on the training mat area.
4. Students must keep their nails trimmed, hair (if long) braided or tied back, and
training uniform clean. Students should not wear any jewelry during training.
5. Students must not practice or demonstrate any techniques on nonmembers.

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If an instructor has not achieved Yudansha level, the title, Sempai (senior student), may be used instead.
Instructors have an obligation to prepare students to train with The Teacher, Tanemura Shoto Sensei. An important
duty incumbent upon all Kobudo Club instructors is to teach Rei, proper manners and respect.