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Bujinkan Okabe Dojo Rokushaku Bo Kihon Waza

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Rokushakubo

(6 Shaku Bo)

Again this weapon was originally 1 Shaku above the head with the Kukishinden Bo 23 Shaku longer. Try to get a longer Bo that suits your size if you can.

Kotsu
1. All movements with the Bo are done with the body, i.e. arms alone are not used, neither are weight changing, stepping or twisting of the body. 2. Keeping elbows tucked into the body, this gives a stronger movement and all resistance is against the shoulder, not the elbows, also more impact against Uke. 3. Using the full length of the Bo for striking. Use the last inch, and edge of the Bo when striking. 4. The Bo Kotsu is about controlling distance i.e. moving in to attack, and then out quickly, to avoid speed of Ukes sword. Use the length of Bo fully especially when doing a Tsuki. This is to keep out of Ukes range. In, and Out. 5. Switch step, and striking together quickly, with a slight jump in between. 6. Keep the hips low, and at one level. This allows you to use the whole body 7. When blocking the Bo with a Katana, move into Hicho no kamae, and block with the back of the sword. If you just block, with the sword, he can then come in again easily.

Go Kui

(Ultimate secret)

If you thrust into the void with the tip of your staff and your hand feels a response, this is the Gokui When the wind blows the Bo will twirl. The body is light. The body flows. It is not the Ninja's power, but the spirit of the Bojutsu art. When your fingertips feel the shafts tip thrusting the empty space, that is the Quintessence (Purest form / essential feature). An old poem on Bojutsu

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Kamae Gata (Posture forms)


1. Jodan no Kamae (Upper level posture)

Lift the Bo so that it is held above the head, with the rear hand above the crown of the head. The Bo is angled down and forwards. The balance of the body can be shifted from one foot to the other to allow distancing and balance to change.

2.

Chudan no Kamae

(Middle level posture)

The Bo is placed under the armpit, with the rear arm over the top of the Bo holding it close to the body. The Bo is horizontal. The knees are bent. The body can be up right with the legs strait, or in Yoko Aruki. The arm hugs the Bo when it is underneath the armpit.

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1. Gedan no Kamae (Low level posture)

The Bo is slid from Seigan, through the hands, so they hold the top end of the Bo. The rear tip is on the floor. The hands are at the level of the belt. Variations of this are to lean forward and backwards, with the weight mainly on the rear or forward foot.

4.

Ichimonji no Kamae (Single Line posture)

Stand side on to the attacker. The Bo is held in both hands, across the waistline. The leg postures, position, and balance change depending on the terrain. 5. Hira Ichimonji no Kamae (Horizontal posture)

Stand with the feet shoulder width apart. The Bo is held in both hands in front of the body. Gedan is with the Bo across the waist, Chudan is with the Bo across the chest, Jodan is with

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the Bo from the face upwards. Even as much as holding the Bo high above the head.

6. Ihen no Kamae (Posture of change) Drop the Bo to the side of the body, with the rear hand at the side, but away from the ear. The Bo is angled down, but across to the front of the body. When the Bo is held as follows the same angle and line as the body. A henka is to do the kamae in complete reverse with the rear end down, and the front raised. The rear hand is by the Obi.

7. Seigan no Kamae (Correct eye posture) The rear hand drops to the level of the belt, and the Bo is angled upwards, with the front tip in the direction of Ukes face. For this kamae the lead hand can be underneath rather than on top as it usually is.

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8.

Ten Chi no Kamae (Heaven, Earth posture)

The Bo is held to the right side of the vertical. The right hand is palm flat against the Bo, at head height, and the left hand holds the Bo at belt level. As with the other kamae, as and when needed the legs can be placed in a variety of postures. 9. Heito no Kamae

The Bo is pulled back to the central position, and is held at right angles across the back. This is a Suitemi Kamae

Wood Quality for a Bo


As far as you use a Bo, you must learn about the quality for wood used for the Bo. You should improve on your ability to judge a Bo as a professional sword-maker, like the noted sword maker Masamune, looks at a sword. The material most popular for the Bo is made of red oak. However, the characteristic hardness is different depending on the location where it grew. A red Oak from the Shimobo region, where I lived, usually has a dull reddish colour. Red Oak from the Kyushu region has a glossy red colour, and is known to be hard and strong. This red Oak has been used as a material for the grips of weapons since ancient times.

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The colour of the red Oak from the Shimofusa region is not beautiful, but there also grows a harder variety called Aragashi (wild Oak). Its colour is darker like spoiled wood. However, it is very hard wood. An old craftsman, who specialises in Bo making, told me, There are seven types of Oak in the scientific classification. Five are them are white Oak, Blue oak, red Oak, wild oak, and Chinquapin. These grew in this area (Noda-shi). Chinquapin is called Shii Oak in the Kyushu area because it is classified as a relative species. In my dictionary ten types of oak are described. These include Aragashi, Shiragashi, Uragirogashi, and Ichiigashi. In terms of oak trees, the best season to cut them down is between Mid September to early December. They could be cut down in the winter, but it would be too oily and easy for bugs to eat. Another material to use for the Bo is Loquat. Moku could be used but it is really difficult to find a straight enough limb. The best material to use for the Bo is Oak and the alternate would be Keyaki (Japanese Zelkova). (A translation from Bojutsu by Hatsumi Masaaki 26th Soke of Kukishinden Ryu Happo Hikenjutsu)

Various Bo in the Kukishinden Ryu related to the Rokushaku-Bo:

Nyuibo Made of wood, and about 6.5 foot long, covered in leather and covered in metal studs. They were used a lot in the battlefields. They were used to smash down on to the men in armour, and knock them back. If struck hard enough it would knock them out. It could also be used to stand behind to protect ones self from being struck by sword, arrows, or other weapons. It could break things such as swords, and bones. A long cloth tassel was attached to the end, to distract, and to help throwing it over the shoulder. Kukishin Ryu Bo (Bo with 9 metal bands) The Bo has 4 bands at each end, 1 in the middle. They are spaced out so that the gap between each is the width of the hand, Apart from being able to increase the impact power of the Bo it will also help strengthen the ends. Bo with small hook on the end This can be used to hook onto clothing or armour and help keep the enemy at a distance. It can also be used to slam into the sides of the enemys body to wound or injury him. Octagonal Bo No different than the round Bo, except it is multisided, which is edged instead of rounded. It is also thicker than the round Bo is. The edges when they contact can cause the skin to split; also the weight can be used to bear down on the enemy. Shugenja Bo This is a monks walking stick, which has a large ring with 9 small rings looped into it. The end of it has a metal spike. The complete end and rings are made of metal. The end can be used to poke, and strike the enemy. In effect it can be used as a small spear. Daisharin This is a wheel and axle, used for the launching of ships or boats into the sea. It floats to the surface after the boat has sail off. The axle is approx. 10 foot long, and the wheels 2 feet wide, and 3 inches thick. The whole assembly can be rolled along the ground knock people over, or one end can be rolled, while the other is held.

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Kuki Gyoja Bo This is from the Kukishin Ryu, and is also known as a Donryu Bo. Four metal blades like spikes are attached to one end, with the sides reinforced by metal bands, which they themselves are studded. The end of the Bo is hollow, in which a 4-foot chain with a weight is hidden inside. This can be flipped out when needed. The opposite end of the Bo has nine studded metal bands with a metal pointed end.

Uchi Waza
1. 2. 3. 4. 5. 6. 7. 8. Age uchi/Hane Age Strike upward to the groin or arms. Kasumi uchi (Mist strike) / Yokomen Strike to the temple. Tento uchi / Men uchi Strike to the top of the head from above. Do uchi The Bo strikes to the mid-section. Ashi Barai The Bo sweeps the legs away. Kote uchi The Bo strikes the wrists. Toki uchi The Bo strikes to the top of the Foot. Tsuki The Bo strikes with a thrust.

Kihon Gata
1. Ukemi Gata

(Fresh start or beginners forms) (Receiving forms) (Bojutsu book P.71)

Uke and Tori face each other in Hira Ichimonji no kamae. Uke steps forward with the right foot, and strikes with Tento Uchi. Tori steps forward a little with the left foot, and brings the Bo up above his head, with the left arm higher than the right. The Bo is angled. The right hand, has the palm flat against the Bo, so when Ukes Bo strikes and slides down to the right, it will not break the fingers. 2. Bofuri Gata (Staff twirling form)

The Bo is rotated from the left to the right and visa versa. This continues, also if necessary striking can take place. 3. Ashi Barai (Leg sweep) (Bojutsu book P.74)

Uke and Tori face each other in Hira Ichimonji. Both step forward with the nght foot, and

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meet in the middle with Ashi Barai. The left hand is released, grabs again below the right hand. The right hand slides to the top. Switch step, and Ashi Barai. Repeat. 4. Shiho Bofuri Gata (Four directions staff twirling form) (Bojutsu book P.76)

Tori does Shiho Bofuri with the Bo, and strikes at random at the Uke that surround him. A good flow of body movement is required to maintain a close control of the Bo. 5. Men Uchi Harai (Head strike sweep) (Bojutsu book P.82)

Uke, and Tori are both in Ichimonji. Stepping forward they strike with Ashi Barai followed by Kasumi Uchi (no step). Pulling back the Bo to Gedan on the left side, switch step, Ashi Barai. The right hand releases, and the Bo is rotated, with the right hand catching, Ashi Barai again. The whole movement is repeated again. 6. Tsuki Hane (Jumping strike) (Bojutsu book P.85)

Both Uke and Tori are in Seigan. Uke does a Tsuki with the Bo. Tori also does a Tsuki to the top of Ukes hand, and then quickly does a right step forward with Age Uchi. Tori, without moving his feet turns clockwise, from the hips up, hooks the Bo up, and through to the top of Ukes wrist, knocking him over. Kuden: This Kihon Gata may be basic, but it can be used as a warm up prior to Taijutsu training or practising the Bojutsu forms. Issued by the Bujinkan Okabe Dojo November 2008

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