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[zeropointbujinkan] - 要 – Kaname

Bujinkan.ME — Thu, 24 May 2012 16:30:23 +0000

要

“Kaname”

This year, 2012, Hatsumi Sensei, the grand master of the Bujinkan, has chosen as his theme the idea of Kaname (要). In English, this translates to the ‘crux‘, ‘essence’, ‘pivot’, or the “vital point”. A simple example of a kaname might be a door hinge, which has a bolt running through it, this bolt (steel rod) is the kaname. Pull this bolt out and your doors fall down. It is the vital point that holds it all together.

Over the years Hatsumi Sensei has taught and shown many principles and ideas, but this emphasis on the essential pieces seems to tie all the previous material together, allowing us to focus on what’s truly important in our taijutsu. In fact it seemed to me that this way of looking at our budo is in itself the critical point!

Everything has a kaname, and when it comes to the practice of martial arts, this idea of finding and using the “kaname” or ‘vital point’ is essential.

There are 3 major kaname that Hatsumi Sensei has been emphasizing:

間合いの要 “Maai no Kaname”

空間の要 “Kukan no Kaname”

動きの要“Ugoki no Kaname”

These 3 areas of focus will give us several crucial concepts to work with that will facilitate a deeper understanding, as well as a functional capability, in our martial art training. I will only be able to give a general sense of these ideas, a more thorough understanding can only come from direct hands on training.

*Of course all three of these areas are integrated so that you cannot isolate or understand one of these kaname without understanding and using the others.

間合いの要 Maai no Kaname – The Vital Point of Distance

It is obvious that, in a fight, distance is constantly fluctuating, and of course, we must learn how to be effective at all ranges. But the first (or primary) distance we must become intimately familiar with is when our “safety zone” has been compromised. We need to learn to read the true range of our opponents and their weapons, and then discover how to be just outside of that range, this is the vital point.

In Japanese budo there is a saying:

肉を切らせて骨を断つ

“Let your opponent cut your flesh

so that you can cut him to the bone!”

To be at this distance -where you can cut your opponent to the bone, while he merely cuts your flesh- you must be right on the edge, which is to say close enough to be cut!

Hatsumi Sensei has talked about writing life on one side of a piece of paper, death on the other side, and the distance between those two words, life/death, is called kami hitoe, 紙一重

(the thickness of a single sheet of paper, or as we say in English, “by a single hair’s breadth”).

This is the cutting edge where you win or lose. This *primary distance is “Ma-ai no Kaname – 間合いの要

As Nagato sensei, one of my instructors likes to say, “Be at the distance where your opponent believes he can reach you, but really you are just out of his reach”. Although the range changes depending on weapon and opponent size, the end product is the same.

*Some of the particular mechanics of doing this I have written about in a previous article on “Shinnenjutsu” (mind control, which is about our perceptions and how to control another person’s perceptions). It will be worth your time to review that paper and refresh yourself with the details.

2. 空間の要 Kukan no Kaname - The Crux of the Kukan

There are many possible translations of the Japanese word kukan, but for our purposes we will use the idea of “the shape of the space – through time”. This definition allows us to look at a movement or technique, moment by moment, as it unfolds over time. A simple example would be the track a sword will take when swung by a swordsmen.

Imagine an opponent standing before you with the sword held over his head. If you look at all the possible paths the sword could take (he has a 360° range of choices) as it travels on its way to your body, you can get an idea of the shape of the space through time.

Obviously, until you can determine which of those paths the sword is actually taking, you don’t want to put your body into any of the potential pathways. You want to move to the “safe” place. This can be practiced with a punch, kick, or any type of weapon. Just remember that each weapon has its own unique characteristics, so you will want to study how the weapon could be used and how the person’s body changes shape during that use, then you can begin to anticipate what will most likely come next, thus allowing you to position your body appropriately in the “shape of the space” or kukan.

Another aspect of this kaname is studying the structure of the human body and how it can generate force so that you can adjust your opponents body just enough to take away his ability to deliver force without doing so much to his structure that he feels compelled to violently react.

As an exercise have someone take a stance where he can hit a pad with full force, then without allowing him to move his feet, slightly shift his shoulders and hips out of alignment with each other. See how little movement it actually takes to greatly diminish his ability to strike in any meaningful way. Understanding what shapes you need in order to deliver force as well as take away the ability to deliver force is also “Kukan no Kaname”.

動きの要 Ugoki no kaname – The Essence of Movement

Hiding your movements

So, you’ve started to dial in your distance, you have begun to see the possible patterns emerge in the kukan, now we must learn how to move in that kukan to properly control the distance. Although this sounds easy, you will find that a lifetime’s worth of habitual movement will make this the most challenging area yet!

Let me ask you an obvious question, if you were to telegraph your movements to your opponent, do you think he would let you perform those movements on him? Of course not! And yet we all have many unconscious, habitual “preparatory” movements that telegraph our intentions to our opponents.

Do this exercise and you’ll see what I mean:

Stand in front of a mirror with your feet in a neutral position, next to each other, watching your head in the mirror. Then, step forward with your right foot. Notice how your upper body first shifts left? In the opposite direction of where you want to go?! This is our habitual way of walking. Every time you go to move/step, you have this preparatory shift, which telegraphs your intention to your opponent!

It should be clear that we need to learn to move in such a way as to NOT telegraph our intentions. Although learning how to use our body so that we don’t telegraph can really only be taught in person, play with this simple walking exercise: Stand with feet together, then load all your weight onto one leg, hold that position where your leg is loaded, then suddenly (with no movement of your body in the opposite direction!) pick up the foot that is loaded and fall. It need only be a small, falling step. You can quickly see how much preparatory motion you unconsciously use just to take a step. Obviously, as this is connected with our footwork, we need to be able to hide where we intend to step, so that, in combat, by the time our opponent perceives our movement, it is too late.

The easiest direction to begin this practice is sideways, then forward, and finally backwards. As you do this you will begin to see that you can move without first shifting and alerting your opponent. You will begin to be able to move in the direction you want to move in, not the OPPOSITE one first!

Shiho Dori

Connected to the ability to hide your intention is the ability to move along the correct angle when you are attempting to apply a technique to your opponent. Some of you may be familiar with the technique 四方取りshiho dori, the “4 ways of taking or capturing”, from Kukishin Ryu. But the concept of shiho dori as it was taught to me is more broadly applicable.

Most of us are familiar with the idea of the weak line, or the “triangle point” as depicted on the left. If you draw a line between Uke’s feet, then draw a line perpendicular to it, you will have the weak line. Another method is to make a triangle with Uke’s feet being two points and a point along the weak line as the third point. However you learned this is not important, the information it gives you about someone’s structure and how to take them down is. For a very simple mechanical reason this concept works; Uke has nothing with which to brace his structure along the weak line. Of course, this is only true when there is no connection between you and him.

However, if there IS a connection between you and your Uke (let us say you have him in a double lapel grab), then the “weak line” changes into something else, the shiho dori, as depicted in the graphic below.

Now when I talk about a connection between you and your Uke, I don’t mean merely touching him, but having a strong enough connection that he is relying upon you for support. This could be in the form of laying your weight on him so that he must brace under your added weight, or, from the opposite perspective, you could be partially supporting him. Either way the connection has to be such that he cannot continue attacking you without first readjusting his structure. You, as the tori, must be able to instantly disengage and move in any direction. Once you understand how to manipulate the human bodies’ structure (remember Kukan non Kaname), you will find it easier to have more and more control over the Uke’s body at this point. When you are able to have a connection wherein you can manipulate your Uke’s shoulder, spine, and hips while he is unable to deliver force in your direction but you are free to disengage and move in any direction, then you have a zero point.

When you arrive at this point, then, and only then, the lines of the shiho dori appear. These lines are mathematically precise. They are difficult to find in training because they are constantly shifting with the movement and placement of the Uke and Tori. If you can imagine being positioned as the graphic above shows you can begin to get the idea of where you would need to move. It doesn’t matter which way either the Uke or Tori is facing, once you have the zeropoint connection, these lines are there. To effortlessly take you Uke down, you need to step/fall along one of these lines, either forward or backwards. Both you and your Uke must move along the lines – precisely. The fulcrum of your connection is usually moving above these lines.

Again, without direct guidance in how to apply the principle of shiho dori, this will seem confusing. But the dramatic improvement in your taijutsu, once you do learn how to implement shiho dori, will make you feel as giddy as a school girl!

Press-Pulse-Press

Quite possibly the most fun of the ugoki no kaname, this concept of “Press-Pulse-Press” or “PPP”, will be immediately recognized to anyone who has spent some time training with Hatsumi Sensei.

The basic idea is this; as you apply a technique to your opponent (for the sake of simplicity let us say omote gyaku), you put just enough tension into it to get a response from your Uke (‘Press’), either in the form of him bracing to resist you, or him trying to drop his body under his wrist to escape the lock. As soon as you feel this you suddenly drop the power out of your hold while simultaneously dropping into a crouch (‘Pulse’).

This rapid loss of pressure (which your Uke was using to maintain his structure) will cause your Uke to wobble off-balance. Without waiting for them to regain their position, put the tension back into the gyaku (‘Press’) as you move in one of the 4 directions – no telegraphing!

If done correctly, they will drop to the ground. Usually laughing because they can’t understand why they fell, since you didn’t force them down. (This is why I say this is the most fun of the kaname as you will be doing a lot of laughing as you begin to use this idea throughout your training).

This is what Hatsumi Sensei means when he talks about “chikara no nuki kata”, the method of dropping your power out.

* I purposely left out a few details in the above description since it must truly be felt to be understood and a thorough description would take many pages to cover! Suffice it to say that each one of these pieces takes several hours of explanation just to see the ideas somewhat clearly in your mind, physically doing them at will, much longer…

Of course there are many more ways of looking at the idea of Kaname, some more straightforward and some even more esoteric. Trying to quantify everything is useless, but these particular ideas have been incredibly useful in helping people see and understand the taijutsu Hatsumi Sensei (and his top instructors in Japan) is doing.

Finally, don’t get too serious about these things, in the words of Hatsumi Sensei “play!”

Rob Renner

2012

[paart-budo-buki] - Tessen-gunsen gata style

Bujinkan.ME — Sun, 20 May 2012 10:19:00 +0000

Here is basic version of tesssen, or Tenarashi-gata tessen, made of solid iron, in shape of closed fan,

weight of this tessen is 540 gram, very powerful tool.

[feedproxy] - Bujinkan Nidan 弐段: Discovering the Footprints

Bujinkan.ME — Thu, 17 May 2012 18:16:00 +0000

Discovering the Footprints, digital c-print photograph by Andrew Binkley

In the first post of this series, Bujinkan Shodan 初段: Searching for the Bull, I mentioned that Hatsumi Sensei describes the journey of a Bujinkan student through the Dan ranks as being akin to the Ten Oxherding pictures in Zen Buddhism. These pictures describe the seeker's journey to enlightenment.

So what does it mean to be 弐段 Nidan?

Discovering Footprints 见迹:

Woodblock print by 德力富吉郎 Tokuriki Tomikichirō

Along the riverbank under the trees,
I discover footprints.
Even under the fragrant grass,
I see his prints.
Deep in remote mountains they are found.
These traces can no more be hidden
than one's nose, looking heavenward.

This stage of training is very interesting because your eyes become open to signs everywhere. You spend as much effort in observing as you do training. You are developing the eyes to see the traces, or footprints of our art.

You begin to recognize these traces in all sorts of people and situations. You will see many previously hidden connections between kata. One technique naturally suggests another leading to 変化 henka. These kata or forms all contain the same traces.

"form is emptiness, emptiness is form."

Depending on your personality, there are two dangers: One is getting lost in the enjoyment of these 変化 henka. Another is becoming what Hatsumi Sensei calls a "technique collector."

If you are thoughtful, you notice that all of these footprints were here all along but you never noticed them before. You might wonder what else is also lying around beneath your feet that you are yet unable to see. As Hatsumi Sensei often says, "enlightenment is beneath your feet."

All of the kata begin to blend together until they seem the same. You start to connect intellectually to the idea that form is emptiness. Even though your own taijutsu rarely shows that.

Because you are finally seeing these things, and with every class you see more, you begin to feel that training more and training harder will certainly pay off. You train with new conviction that with more effort will come more results.

But this stage is also marked by an overwhelming realization that there is so much material to learn. The more you discover, the more there is. While this discovery is fun, it can also be intimidating.

And more than that, the harder you search, the more you pursue the Ox, the further away it runs. The harder you train the more the essence of the Bujinkan may elude you.

The poem above says that the "traces can no more be hidden than one's nose, looking heavenward." This suggests that the footprints if followed to their source will lead back to yourself. The 極意 gokui or essence of training can be discovered here.

Being a Nidan you will sense this, but not yet experience the 極意 Gokui directly.

In the next post we will look at Bujinkan 参段 Sandan: Perceiving the Bull

[paart-budo-buki] - Tekken or knuckles

Bujinkan.ME — Sat, 12 May 2012 02:02:00 +0000

Dear Budo friends,

her is one more shinken tool of Ningu, or if you like one of kobudo weapon.

also made for the collection of the tools for my Dojo, the plan is make the largest collection of replica ninja tools and equipment in this part of the world.

I always try to make things better, so I make more pieces, best goes to Dojo armory, and rest you will be able to purchase if you are interested.

This kind of Tekken (some say Kaiken) because of its geometry and shapes, can be used in many ways, not only striking, but also to assist in climbing, or for something more which I will try to explain in next post.

if you think that I'm forget my wooden work here is also one wooden version of Tekken

as was shown in the Encyclopedia of Japanese Kobudo Weapons

the same but with a little patina, painted to look older

[feedproxy] - Bujinkan Shodan 初段: Searching for the Bull

Bujinkan.ME — Thu, 10 May 2012 19:51:00 +0000

The Search for the Ox, digital c-print photograph by Andrew Binkley

When I first studied the 十牛圖頌 ten ox herding pictures and poems, I recognized some of my own journey reflected in Bujinkan training. Maybe you will see yourself there as well.

The Ten Ox Herding pictures illustrate the stages of a Zen life in the quest toward enlightenment. In Zen the ox represents the mind which is at first wild and untamed, running from one thing to another. It is said that these stories are trying to express the inexpressible.

Hatsumi Sensei has a favorite teacup with these ten illustrations on it. As he sips his tea, he says he likes to reminisce about the "old days," and he tells us how we have the same ten stages in our journey through Budo: First dan through Tenth Dan.

This will be the first in a series of 10 posts.

Just as a man would tie to a post
A calf that should be tamed,
Even so here should one tie one's own mind
Tight to the object of mindfulness.

What does it mean to be a Shodan 初段 in the Bujinkan? Let's look at this first stage from the Oxherding perspective:

Woodblock print by 德力富吉郎 Tokuriki Tomikichirō

寻牛 The Search for the Bull

In the pasture of the world,
I endlessly push aside the tall
grasses in search of the bull.
Following unnamed rivers,
lost upon the interpenetrating
paths of distant mountains,
My strength failing and my vitality
exhausted, I cannot find the bull.
I only hear the locusts chirping
through the forest at night.

Somehow you find inspiration to start training in the Bujinkan. This may come from a feeling that you are missing something or a need to better yourself. Or maybe that your current training is lacking in some way.

This is known as 初発心 sho-hosshin or the first stirring of the heart.

This goes from first hearing about the Bujinkan all the way through learning your basics so that you start to glimpse that there is an essence to this art that lies beyond technique. These are the footprints you look for while training on the basics. You may not know where they lead, and they remain elusive.

You will be distracted by other styles and many things that are not even related to training. There is so much to absorb that your senses will be confused.

Traps at this stage are thinking you know what is good or bad training, striving to gain rank or prove something, fear that you cannot do things, and giving up the search before you know what you are searching for.

This stage is critical for finding an authentic teacher. You will find the teacher you deserve. If your mind is clouded by what you think is right, you will get a teacher who will only confirm and magnify your ill chosen path.

All of your training will be energetic and have a feeling of really going for it. You get bloody, bruised and sweaty but love the process.

You start to notice that no matter how much you train, there is always more. The Bujinkan seems to expand the more you learn. You never reach the place where you can say, "I've got this." This can lead to a time of doubt where other paths become tempting. You want to find training that you can master and the Bujinkan rarely supplies this feeling.

After your strength and spirit are drained, you wonder, what now? Where can I go from here? How can I keep training and persevere? Can I even do this?

Every visit to the dojo feels like another wasted effort to learn anything. Frustration will rule your mind.

This is a very important passage in training. Reaching this place means you are ready to begin learning. That is why Shodan is beginner's level. You may recognize you are caught in your own conditioning and seek a way out through taijutsu.

You will feel you are nearing the end of this level when you sense that the ego's efforts to capture the essence of training are not enough.

Next we look at Bujinkan Nidan 弐段: Discovering the Footprints

[feedproxy] - Budo 武道: Bloodlust, or a Path to Peace?

Bujinkan.ME — Fri, 04 May 2012 22:26:00 +0000

Memorial Cathedral for World Peace, Hiroshima. photo by scarletgreen

What is the point of Budo? Training in a martial art is a strange endeavor. You learn how to bruise, break, maim, and kill all in the name of peace and love for humanity. At least that's what most teachers would tell you. None ever admit to having a love for violence.

But most martial arts have their roots in violence that was either forced on them by lovers of war, or developed by those who loved war. True peace lovers would never train to do what we do, right? I don't know. I don't think it's that black and white.

武道 Budo means martial way. The character of Bu 武 is composed of three different kanji radicals two 二, shoot or spear 弋, and stop 止. So the essence of Bu is the way of stopping two people from shooting at each other or from fighting! Budo prevents or stops fighting among people. Martial arts are to promote harmony and act to stabilize society.

During the 1860's in Japan, a time marked by bloody infighting among various samurai factions, this meaning seemed lost.

For training to cut human flesh, men were forced to perform executions or to act as seconds for those condemned to commit seppuku. I guess this is how they learned to decapitate. It is said that if the trainee even grimaced or turned a little pale at the sight of the gore, he would fail the test.

They would then skewer the bloodied heads onto bamboo stakes and leave them near bridges with a note attesting to 天誅 Tenchuu or heaven's revenge.

The author Kan Shimozawa wrote about how they bragged of their bloody feats:

"Every day the men would go out and cross swords with the enemy. One corpsman claimed the blood of the man he had killed today splattered on the ridge of the adjacent house. Another said that the blood [of his victim] hadn't splattered beyond the white paneled wall. Still another boasted that the blood of the man he had cut down had reached the roof of the house."

One of the men's mistresses described their bloodlust:

"People would talk about whom they had killed today, and whom they were going to kill tomorrow. It was all so frightful."

One group of hit men even adopted the nickname 人斬 hito kiri which is like calling yourself "the beheaders".

Not all were so enamored of blood. Katsu Kaishū, founder of the Japanese navy said,

"I despise killing and have never killed a man. Take my sword for example. I used to keep it tied so tightly to the tsuba, that I couldn't draw the blade even if I had wanted to. I've always been resolved not to cut a person even if that person should cut me. I look at such a person as no more than a flea. If one lands on your shoulder, all it can do is bite a little. This causes nothing more than an itch, and has nothing to do with life."

I think that whether you have an affinity for violence and martial arts bring you some measure of peace, or you are a peace lover who wants to understand the other side, training taps into some very primal aspects of our dual natures. To be a whole complete human requires knowing the dark and light and gray.

So go ahead and learn how to bruise, break, maim, and kill… all the while embracing the understanding that our training leads us to a place of never needing to use these violent skills. If you have a good teacher they will show you the path from one to the other. Do not neglect the depths of real combat and violence with the power contained therein, nor the heights of love and peace and the great powers that arise from this stillness.

[budoshop] - Hankyou 2008 – Kaigozan Christmas Seminar

Bujinkan.ME — Mon, 30 Apr 2012 17:39:21 +0000

Reflections of this years Bujinkan theme, Togakure-ryu ninpo taijutsu. Many people went to Japan this year and they all came together to share on this seminar.

The instructors was Paul Waserbrot, Mats Hjelm, Steven Helling, Daniel Bodin, Fredrik Markgren, Arvid Karlsson, Jens Lindstrand, Richard Maier, William Ustav.

Most of the instructions is in Swedish!

Recorded in Stockholm, Sweden December 2008

Note: Some of the instructors spoke Swedish, and others English.

This movie is available on DVD (click here!) or available as download, click button below.

100 minutes, 707 Mb for $11.99

Instructions are in SWEDISH!

[feedproxy] - Joukenhansha 条件反射: Reflex Conditioning or a Trap?

Bujinkan.ME — Fri, 27 Apr 2012 00:04:00 +0000

正拳 photo by *嘟嘟嘟*

I love it when I get to spar with a martial artist who has great conditioning. Not only is it a great test for me and what I think I know about martial arts, but I have a secret weapon in our Bujinkan taijutsu that allows me to defeat them even if they have superior conditioning. This weapon is the conditioning itself. I can use it to trap them.

In martial arts, sports, or combat training people strive to develop fast reflexes. Reflexes don't require conscious thought. In fact the action of a true reflex follows the reflex arc to create a near instantaneous response to stimuli.

This is an advantage in dangerous situations where there isn't time to think about your choices. You just pull your hand out of the fire. In our training we are not usually studying true hard-wired reflexes. Instead we are conditioning our muscles and bodies to develop responses that have proved effective in our training and in combat.

Some people call this muscle memory. Or another term is procedural memory. This is where you commit a specific action to memory by training it over and over. This repetition strengthens neural pathways allowing the brain to access these patterns more efficiently. A medical definition for this might be more like the word reflexive as opposed to reflex.

For the most part, this conditioning is useful and good. Unless you are facing a devious and thinking opponent who can turn it against you. Soke calls this 条件反射 joukenhansha which is a conditioned response. He spoke of this while talking about how you should not take ukemi. Which I wrote about here: Why Do You Take Ukemi? So How can this conditioning be turned against you?

Well a reflexive action is a habitual and unthinking behavior; or relating to or consisting of a reflex. It's the habitual and unthinking part that gets you. When I recognize these reflexive actions in your movements, whether they are offensive or defensive, I will seek to trigger them to set a trap.

It's easy to see this in action no matter the style. Test it out on any person (choose someone who will not seek revenge). Stand facing each other, but don't tell them what you are testing. No reach as fast as you can for their ear.

How do they react? People with no training at all act with pure reflex in a startle-flinch response. People who train in a specific style will reveal their training, which is reflexive. In the 1980s the US Army conducted experiments to discover that people can be startled into their favored, trained fighting stances, no matter what those stances were.

Then set a trap so that when they react with their reflexive conditioning again, you will defeat them. All you have to do is trigger that reaction by reaching for their ear. Or you can make some other feint, kyojitsu, or threatening motion.

Hatsumi Sensei says this is like Pavlov's dogs. And he says we all know how easily dogs are controlled by people. So we should not train ourselves to be conditioned like dogs. Don't design reflexive traps into your training program.

[budoshop] - Hankyou 2007 – Kaigozan Christmas Seminar

Bujinkan.ME — Tue, 24 Apr 2012 20:36:02 +0000

Reflections of this years Bujinkan theme, Kukishin-ryu daken-taijutsu. Many people went to Japan this year and they all came together to share on this seminar.

The instructors was Mats Hjelm, Christian Spicker, Petter Swedin, Daniel Åberg, Daniel Neiberg.

Most of the instructions is in Swedish!

Recorded in Stockholm, Sweden December 2007

Note: Some of the instructors spoke Swedish, and others English.

This movie is available on DVD (click here!) or available as download, click button below.

92 minutes, 648 Mb for $11.99

Instructions are in SWEDISH!

[kumafr] - Japan Trip April 2012 – Diary

Bujinkan.ME — Tue, 24 Apr 2012 17:46:14 +0000

I came back yesterday from a fantastic trip and I hope you have been able to share with me the things I trained in Noda.

I have been asked in Japan why I was writing so much*. It is to share with the community some of the knowledge we get in Japan with Sôke and the shihan. I hope it will help you to wait for your next trip.

These texts* and these pictures are my attempt to give a fair image of what is happening in Japan. This is why I have added many pictures to these texts.

I took many pictures and not all are good but please see them as a training documentary. Pictures being forbidden during training, you will mainly have pictures taken before and after the class. As today someone asked me to put a link here to access the pictures uploaded on facebook during my trip you will find them below:

The first album contains the first 10 days (over 500 pict):

https://www.facebook.com/media/set/?set=a.3395318174028.144619.1601937800&type=3

and the second one only the last day (around 100 pict):

https://www.facebook.com/media/set/?set=a.3464131334314.145724.1601937800&type=3

Enjoy and comment them if you feel like it.

*All the texts in this blog were uploaded in April. If you want to read them again, click on “April 2012″ in the home page and they will appear.

[feedproxy] - HQ#145 Be careful when you are using your head for such strikes, because the top of your head is the weakest part. Placing your fists (palm on head, knuckles up) on your head like this and striking works very well.

Bujinkan.ME

[youtube] - Bujinkan Montenegro sensei Lazarević PredragBujinkan Montenegro sensei Lazarević Predrag 2012-05-24T22:15:49.000Z PueUoQOQemGJ9dQwJbK_qw 3ue6P_idp4M

Bujinkan.ME

[youtube] - tag:youtube.com,2008:video:HMe5HiYLS3k 2012-05-17T09:41:51.000Z 2012-05-17T09:41:51.000Z Bujinkan Budo Taijutsu & Ninjutsu demo at TMAS 2012Bujinkan Budo Taijutsu & Ninjutsu demo at TMAS 2012 2012-05-17T09:41:51.000Z Txf-dqjNeO419fMPBFASlQ HMe5HiYLS3k

Bujinkan.ME

[youtube] - tag:youtube.com,2008:video:9T5j1ROR0fE 2012-05-18T04:47:40.000Z 2012-05-19T10:58:53.000Z Graham Ramsden Butoku dojo Throws.Graham Ramsden Butoku dojo Throws. 2012-05-18T04:47:40.000Z dBva26_A0mU9_BJmE88aMg 9T5j1ROR0fE

Bujinkan.ME

[youtube] - tag:youtube.com,2008:video:o7nXDPJ8Xj8 2012-05-18T17:23:50.000Z 2012-05-18T17:23:50.000Z NINJUTSU - BUJINKAN BUDO TAIJUTSU BAHÍA BLANCA - NINTAI DOJONINJUTSU - BUJINKAN BUDO TAIJUTSU BAHÍA BLANCA - NINTAI DOJO 2012-05-18T17:23:50.000Z 44_FiMqR-dZnnwxic2Jn2g o7nXDPJ8Xj8

Bujinkan.ME

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