Core Ninjutsu Techniques Handbook

© Copyright Keith Copeland 2010 All Rights Reserved
1
INTRODUCTION ....................................................................................... 3
Chapter One: Kihon Happo – Advanced Training Techniques................................................. 5
Chapter Two: Omote Gyaku Dori ................................................................................................ 8
Chapter Three: Omote Gyaku Tsuki.......................................................................................... 12
Chapter Four: Ura Gyaku........................................................................................................... 17
Chapter Five: Ura Gyaku Variation: Hon Gyaku..................................................................... 22
Chapter Six: Musha Dori – “Catching The Warrior” .............................................................. 23
Chapter Seven: Musha Dori Variation: Oni Kudaki ................................................................ 27
Chapter Eight: Ganseki Nage...................................................................................................... 28

2
Introduction
You are about to learn the heart of ninjutsu.
The Kihon Happo is a collection of 8 kata, or models, that embody

ninjutsu’s core principles. In fact, the Kihon Happo is referred to as the
“basic or fundamental eight”.
With these eight kata you have a strong base and foundation to build
your skills. The Kihon Happo has so much information designed into
them that they can, and should be studied for the rest of your life.
There are five “capture” kata and 3 “striking” kata. We will look at the
five captures and some of their variations.
It is important to understand that each kata has a virtually unlimited

number of variations. Once you learn the version I show you need to
begin to explore the possibilities. Some things to think about are:
Up and down variations. What happens if I move up? What
happens if I move down? The same questions can then be asked
about your opponent.
Forward and back
Side to side
Forward at angles
Backward at angles
Circling right
Circling left
Then you can explore the combinations of up and back, down and
forward, angle back and down, etc.
It’s virtually endless!
When you train in ninjutsu you are learning a very effective and
potentially deadly martial art. With this comes great responsibility.
EXERCISE CONTROL, LEARN COMPASSION AND USE THE LEAST FORCE

POSSIBLE TO BE SUCCESSFUL!
This is in the true ninja tradition. We are protectors, not predators. In

fact, if you are buying this book to learn how to harm others, please
contact me and ask for a refund right now. I’m serious about this.

3
Ninjas train to make the world a better place. Unfortunately, there are
a lot of people learning and teaching ninjutsu with evil intent. This goes
counter to true ninjutsu and I want no part of it.
If you are ready to increase your personal power then read on. What you
will learn in this book is:
How your opponent will give you the tool to defeat them
How to take balance effortlessly
How to have a “built in” defense
How to perform joint locks
How to “throw” someone much bigger and stronger than you
So, as Hatsumi sensei says, “Keep going!”

4
Chapter One: Kihon Happo – Advanced Training
Techniques
The Kihon Happo are a collection of eight kata, five captures (grappling)
and three striking, that comprise the key concepts and principles in
ninjutsu. One translation for Kihon Happo is “the basic 8”.
If you can master the Kihon Happo you will have a very strong
foundation that will allow you to move on to master much higher level
applications.
The five captures, Torite Kihon Goho no Kata, are included in this
chapter with four variations:
Omote Gyaku Dori
Omote Gyaku Tsuki
Ura Gyaku
o Hon Gyaku (variation)
Musha Dori
o Oni Kudaki (variation)
o Te-Makura (variation)
Ganseki Nage
Having great striking skills is important and that is why they are part or
the Kihon Happo. I will cover the three striking kata, Koshi Sanpo no
Kata, in a different publication.
Infinite Possibilities
The Kihon Happo is even more amazing that just the core techniques
and their accompanying principles.
The fundamental 8 also means that there are basically 8 directions:

1. Up
2. Down
3. Left
4. Right
5. Forward right at 45 degrees
6. Forward left at 45 degrees
7. Backward right at 45 degrees
8. Backward left at 45 degrees

5
Now think about this, if you take each of the core techniques and
practice each one in each of the eight directions then you have
countless possibilities.
Now think about all the attacks in the basic 8 and make them a:
Punch
Shove
Grab
Kick
etc.
There are literally an infinite number of possibilities. You could practice

for the rest of your life and never do it all.
I tell my students that I could only teach one attack scenario per year
and never exhaust the training material.
This is HUGE!
It would be a major mistake to underestimate what I am sharing with

you in this training material.
Joint Locks and Throws
Joint locks and throws are easy, if you apply the basic principles. Big
and strong becomes weak and compliant when you know just the right
twist.
There are three basic joint locks, wrist, elbow and shoulder. These are
the joints we will focus on but keep in mind that these locks can all be
done to ankle, knee and hip.
“Throws” is really not the right term. We don’t throw people. That
would imply strength.
What is a more accurate way of thinking about it is “unbalancing and

assisting them in falling”. But throws is much more concise, so I will
refer to it as throwing your opponent.
If you are performing a throw and find yourself straining then you have
probably missed something.
You are not is position
You haven’t taken their balance
You are trying to force them to move (instead of creating the
motivation for them to move and then patiently waiting)

6
For each of the Kihon Happo there is a principle being illustrated as well
as techniques, footwork, body dynamics and strategies.
These things will always be true:

Knees bent
Back straight
Hands up and engaged
Kazushi – throw opponents balance
Pay attention to the principles, not just the moves!

7
Chapter Two: Omote Gyaku Dori
“Outward wrist twist”
The attack: Straight push or grab
The principle: Use whatever they give you.

Use what the attacker does (and gives you) to guide you in your
movements, responses and choices.
Attack the thing they attack with.
The uke, or attacker, threatens and does a straight grab to your left
lapel (about at your collarbone) with his right hand.

8
You do 2 things simultaneously:
1. You fall back and away in a circular movement on the side you
are grabbed (back and to your left). You do this by falling back
from your hips and moving your leg to reposition yourself with
slightly more weight on your back leg
2. Capture the grabbing hand
Next:

9
As the uke pulls back his hand you maintain contact of the
grabbing hand
Position your thumbs on the back of his hand. “Insert” your
thumbs into the small bones in the back or their hand
Move with him as he moves back
Apply an omote gyaku (an inward locking wrist twist) to take the
opponent down.

10
When applying an Omote Gyaku, or joint lock to the wrist, fold the
wrist, palm toward the forearm, then rotate the hand backward, or
outward (so the palm passes the opponents face and shoulder) and
move the palm in the direction of the floor at and angle behind them.
Finish by locking him on the ground

11
Chapter Three: Omote Gyaku Tsuki
“Outer wrist twist in response

to a grab and punch”
The attack: Lapel grab
The principle: Know that they will continue to attack

Always be ready to defend

12
1. Your left hand comes up to cover his grabbing hand
2. Position your hand so that your thumb is set to thrust your thumb
nail into the kyusho point (pain portal/ pressure point) on the
side of his finger (any finger)
The uke continues his attack with a left punch to your head.
You fall back at a 45 degree angle on the side you are grabbed (back
and to your left). You do this by falling back from your hips and moving
your leg to reposition yourself with slightly more weight on your back
leg (like Ichi Monji no Kamae)

13
As you fall back and away strike the incoming forearm with a back fist
to the nerve rich area on the inside of his forearm.
As the uke is striking and you are falling back and away and
counterstriking insert your thumbnail into the kyusho point in his finger.
The pain will cause him to release his grip. It will also disrupt his
thoughts temporarily. This is when you can turn from defense to attack.
As he flinches from the pain and loosens his grip:

Take advantage of his confusion and the relaxing of his grip to
remove the grabbing hand
Position your thumbs on the back of his hand
“Insert” your thumbs into the small bones in the back or his hand
Apply an omote gyaku (an inward locking wrist twist) to take the
opponent down.

14
Apply the Omote Gyaku (same as the pictures in “Omote Gyaku Dori”)
and move your hips in the direction you want him to fall.

15

16
Chapter Four: Ura Gyaku
“Inward wrist twist”
The principle: Build in your defense

Have your positioning be a “built in” defense
They will “walk into’ your defense

17
2. You fall back at a 45 degree angle on the side you are grabbed
(back and to your left). You do this by falling back from your hips
and moving your leg to reposition yourself with slightly more
weight on your back leg (like Ichi Monji no Kamae)
3. You move your right hand to strike his face/eyes to disrupt

18
Let your right arm go over his grabbing arm and sink into your knees
while pulling the uke off balance.
Cover uke’s hand with your right (or the striking hand)
Turn your hips in (toward the uke) to lock his elbow and take his
balance

19
Turn toward uke (using your hips)
This will rotate the uke’s hand into a thumb position
You have now positioned yourself to apply a Hon Gyaku. Apply just
enough pressure to cause the attacker to bend their knees, disrupting
their attack momentarily.

20
As the uke rises and turns to hit with his free hand you apply an Ura
Gyaku:
Fold his palm toward his forearm
Turn your hips away from uke
Turn uke’s palm so that it faces the ceiling
As you apply pressure to his elbow that forces him forward and to
the ground

21
Chapter Five: Ura Gyaku Variation: Hon Gyaku
“Principal wrist twist”
The principle: Build in your defense

Have your positioning be a “built in” defense
They will “walk into’ your defense

weight on your back leg (like Ichi Monji no Kamae)
Let your right arm go over his grabbing arm and sink into your knees
while pulling the uke off balance.
Cover uke’s hand with your right (or the striking hand)
Turn your hips in (toward the uke) to lock his elbow and take his
balance
Turn toward uke (using your hips)

This will rotate the uke’s hand into a thumb down wrist lock (Hon
Gyaku)
Little finger points up toward the ceiling
Lower your body by bending your knees
Apply pressure by turning the uke’s little finger toward his nose
As you apply pressure this forces him down and to the ground

22
Chapter Six: Musha Dori – “Catching The Warrior”
“Elbow scoop shoulder dislocation”
The attack: Sleeve grab – Lower arm
The principle: Use your legs/remember you have legs

Up and down movement
Attack high and then low
Attack low and then high
lapel (just above wrist) with his right hand.

23
weight on your back leg (like Ichi Monji no Kamae). This will
straighten his grabbing arm.
Move your left arm (the grabbed arm) up and over the uke’s grabbing
arm.

24
Close up of balance taking and arm/hand positioning.
Lower your body by bending your knees as you put downward pressure
on the grabbing arm. This forces his arm to bend the elbow and takes
his balance.
“Scoop” the elbow as you come up using your legs

25
Clasp your hands together, locking his bent arm. This further takes his
balance and draws his attention to his shoulder, now locked.
Kick his leg to destroy his balance and take him to the ground.

26
Chapter Seven: Musha Dori Variation: Oni Kudaki
“Demon Crusher,
“Elbow scoop shoulder dislocation”
The attack: Sleeve grab – Upper arm
The principle: Use your legs/remember you have legs

Up and down movement
Attack high and then low
Attack low and then high
lapel (at shoulder) with his right hand.

1. Attack/fall forward from the hips
2. Left forearm (grabbed arm) goes against the forearm (grabbing
arm) of the uke
3. Right hand strike the uke’s right ribs (grabbing side)
Move your right arm (the free arm) up and under the uke’s grabbing arm
with a pulling action.
Clasp your hands together locking the uke’s the grabbing arm. This
forces his arm to bend the elbow and takes his balance.
Pull or “hug” the arm.
Fall back with the left hip (and foot) as you lower your body using your
hips to take the uke to the ground.

27
Chapter Eight: Ganseki Nage
“Throwing large stones”
The attack: Sleeve grab – Upper arm
The principle: “Fit in”

Be inside the attack
Be in the right place at the right time
Taking balance using superior positioning
lapel (at shoulder) with his right hand.

28
1. Fall forward at an angle from the hips (straightening their arm)
2. Right hand strike the uke’s neck or head (grabbing side)
Shift your weight through your hips toward the attacker as you push
their head and body of balance.

29
Close up of disrupting head strike.
Step with your back foot placing the ball of your foot directly between
their heels. Make sure you keep pressure on their head to keep them off
balance.
Turn and shift your body to face in the same direction as the attacker.

30
As they move to hit with their outside hand step forward with your lead
foot.
They will fall forward. Finish as appropriate.

31

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© Copyright Keith Copeland 2010 All Rights Reserved

Chapter One: Kihon Happo – Advanced Training Techniques................................................. 5

Chapter Two: Omote Gyaku Dori ................................................................................................ 8

Chapter Three: Omote Gyaku Tsuki.......................................................................................... 12

Chapter Four: Ura Gyaku........................................................................................................... 17

Chapter Five: Ura Gyaku Variation: Hon Gyaku..................................................................... 22

Chapter Six: Musha Dori – “Catching The Warrior” .............................................................. 23

Chapter Seven: Musha Dori Variation: Oni Kudaki ................................................................ 27

Chapter Eight: Ganseki Nage...................................................................................................... 28

© Copyright Keith Copeland 2010 All Rights Reserved

You are about to learn the heart of ninjutsu.

The Kihon Happo is a collection of 8 kata, or models, that embody

It is important to understand that each kata has a virtually unlimited

It’s virtually endless!

EXERCISE CONTROL, LEARN COMPASSION AND USE THE LEAST FORCE

This is in the true ninja tradition. We are protectors, not predators. In

© Copyright Keith Copeland 2010 All Rights Reserved

So, as Hatsumi sensei says, “Keep going!”

© Copyright Keith Copeland 2010 All Rights Reserved

The fundamental 8 also means that there are basically 8 directions:

© Copyright Keith Copeland 2010 All Rights Reserved

There are literally an infinite number of possibilities. You could practice

It would be a major mistake to underestimate what I am sharing with

Joint Locks and Throws

What is a more accurate way of thinking about it is “unbalancing and

© Copyright Keith Copeland 2010 All Rights Reserved

These things will always be true:

Pay attention to the principles, not just the moves!

© Copyright Keith Copeland 2010 All Rights Reserved

“Outward wrist twist”

The attack: Straight push or grab

The principle: Use whatever they give you.

© Copyright Keith Copeland 2010 All Rights Reserved

© Copyright Keith Copeland 2010 All Rights Reserved

© Copyright Keith Copeland 2010 All Rights Reserved

Finish by locking him on the ground

© Copyright Keith Copeland 2010 All Rights Reserved

“Outer wrist twist in response

The attack: Lapel grab

The principle: Know that they will continue to attack

© Copyright Keith Copeland 2010 All Rights Reserved

© Copyright Keith Copeland 2010 All Rights Reserved

As he flinches from the pain and loosens his grip:

© Copyright Keith Copeland 2010 All Rights Reserved

© Copyright Keith Copeland 2010 All Rights Reserved

© Copyright Keith Copeland 2010 All Rights Reserved

“Inward wrist twist”

The attack: Lapel grab

The principle: Build in your defense

© Copyright Keith Copeland 2010 All Rights Reserved

© Copyright Keith Copeland 2010 All Rights Reserved

© Copyright Keith Copeland 2010 All Rights Reserved

© Copyright Keith Copeland 2010 All Rights Reserved

Finish by locking him on the ground

© Copyright Keith Copeland 2010 All Rights Reserved

“Principal wrist twist”

The attack: Lapel grab

The principle: Build in your defense

You do 3 things simultaneously:

Turn toward uke (using your hips)

Finish by locking him on the ground

© Copyright Keith Copeland 2010 All Rights Reserved

“Elbow scoop shoulder dislocation”