What is Jujutsu?
The term “Jujutsu” means literally, “art of flexibility” or “art of gentleness”. Jujutsu is one of the main martial arts of Japan. The development of Jujutsu came into full bloom as the Tokugawa Shogunate (1600-1868). Since the sword was the primary weapon of the professional warriors of those times (Samurai), the skills of Jujutsu developed around the threat of the sword, and with the intention of defeating the violence of the sword.
Many different “ryu” (schools or systems) developed all around the country. Most of the ryu (like the swordsmanship dojos) were for the training of future Samurai, their families and members of the clan. Samurai came from a sword tradition, and focussed on the study of Jujutsu method as a countrpart of the sword method.
By the time of the Meiji Restoration (late 19th. Century), Master Jigoro Kano, himself a Jujutsu practitioner, broke away from the traditional practice of the art, and came with a new adaptation that he called “Kodokan Judo”. Modern Olympic Judo developed from the Kodokan school.
All systems of Jujutsu have several techniques in common. The different “Ryu” give importance to one aspect or another, but they practice them all. These techniques are:
Between 1890 and 1945, some systems of Jujutsu were exported to other countries, especially Europe and the Americas. For the purpose of our system, Nindo Ryu Jujutsu, It is necessary to point some of the lineage of Jujutsu that influenced its development.
The Hawaiian Line – In the 1920’s some Kodokan Judo & Jujutsu Instructors moved from Japan to Hawaii, This is how Jujutsu was introduced to the United States. From this line comes Grandmaster Wally Jay (Small Circle Jujutsu).
The Philippine Line – There was an intense contact between the Philippines and Japan before and after World War II. Jujutsu, as well as other martial arts systems, was taught in the Philippines. Phillipino practitioners combined Jujutsu with the local martial arts to create a very well balanced fighting style, From this line come Grandmaster Florendo Visitation, Grandmaster Moses Powell, Shihan David James, Master Thomas Martinez (Titi Basabe), etc. It was Grandmaster Powell that introduced O’Sensei Febres to Jujutsu when Febres was 12 years old.
The Aikijujutsu Line – Aikijujutsu, or Daito Ryu, an old system of Jujutsu, was re-introduced into Japanese society by Master Takeda Sokaku. Many Schools came out of the Takeda tradition. Ueshiba O’Sensei, a former student of Takeda, broke away and founded Aikido. Another variation of Daito Ryu is Goshin Ryu Aikijujutsu. It is from this line that comes Master Jack Herman. O’Sensei Febres holds a Godan in Goshin Ryu Aikijujutsu.
Many different “ryu” (schools or systems) developed all around the country. Most of the ryu (like the swordsmanship dojos) were for the training of future Samurai, their families and members of the clan. Samurai came from a sword tradition, and focussed on the study of Jujutsu method as a countrpart of the sword method.
By the time of the Meiji Restoration (late 19th. Century), Master Jigoro Kano, himself a Jujutsu practitioner, broke away from the traditional practice of the art, and came with a new adaptation that he called “Kodokan Judo”. Modern Olympic Judo developed from the Kodokan school.
All systems of Jujutsu have several techniques in common. The different “Ryu” give importance to one aspect or another, but they practice them all. These techniques are:
- Atemi – Striking
- Tai Sabaki – Body Displacement
- Te Waza – Hand Techniques
- Koshi Nage/Koshi Waza – Hip Techniques
- Shime Waza – Chocking
- Kappo Waza – Resuscitation
- Kansetsu & Koppo Waza – Bone Dislocation & Breaking
- Osae Waza – Immobilization/Restraining Techniques
- Sutemi Waza – Sacrifice Techniques
- Ukemi & Kaiten Waza – Break falls & Rolling
Between 1890 and 1945, some systems of Jujutsu were exported to other countries, especially Europe and the Americas. For the purpose of our system, Nindo Ryu Jujutsu, It is necessary to point some of the lineage of Jujutsu that influenced its development.
The Hawaiian Line – In the 1920’s some Kodokan Judo & Jujutsu Instructors moved from Japan to Hawaii, This is how Jujutsu was introduced to the United States. From this line comes Grandmaster Wally Jay (Small Circle Jujutsu).
The Philippine Line – There was an intense contact between the Philippines and Japan before and after World War II. Jujutsu, as well as other martial arts systems, was taught in the Philippines. Phillipino practitioners combined Jujutsu with the local martial arts to create a very well balanced fighting style, From this line come Grandmaster Florendo Visitation, Grandmaster Moses Powell, Shihan David James, Master Thomas Martinez (Titi Basabe), etc. It was Grandmaster Powell that introduced O’Sensei Febres to Jujutsu when Febres was 12 years old.
The Aikijujutsu Line – Aikijujutsu, or Daito Ryu, an old system of Jujutsu, was re-introduced into Japanese society by Master Takeda Sokaku. Many Schools came out of the Takeda tradition. Ueshiba O’Sensei, a former student of Takeda, broke away and founded Aikido. Another variation of Daito Ryu is Goshin Ryu Aikijujutsu. It is from this line that comes Master Jack Herman. O’Sensei Febres holds a Godan in Goshin Ryu Aikijujutsu.
Nindo Ryu Jujutsu – This is the original art taught by O’Sensei Carlos Febres. This modern interpretation of classical jujutsu is focused on circular motions and a water like approach using throws, joint locks, grappling and striking techniques.
Nindo Ryu Aiki Jujutsu – This interpretation of classical Aikijujutsu is focused on a water and wind approach. It employs both small and large circular movement and redirection of energy along with throws, joint locking, nerve and pressure point attacks.
Principals Of Combat
Zanshin – Awareness
This is the practice of resisting the natural inclination to lax. One aspect of Zanshin that is commonly discussed in Nindo Ryu is that brief period before and after you face the opponent. You must continue to engage the attacker and the complete surroundings, to use them and him to your advantage as you escape the situation.
Zanshin on a strategic level requires you to perceive all that is around you. Even the unexpected should not surprise you. When confronted with a sudden change of events, you must flow along with them in order to prevail, to persevere. The concept of Zanshin precludes the ability of surprise to freeze you in your tracks. Once the stress of the event has been passed then Zanshin demands that you do not relax, and therefore loose focus.
Ma-ai - Interval
Ma-ai means interval, but in martial arts, it is specifically the “killing distance” between combatants. Nindo Ryu Ma-ai is designed for defending against modern attacks, as well as holding true to the classical model. One must understand the principles, which govern movement, so one can control the Ma-ai. That aspect will be detailed in the Nindo Ryu Taisabaki section. However, we must first discuss the importance of stability, for without it, we cannot move with confidence and would therefore put ourselves unduly in jeopardy.
Kyuko – Balance
Kyuko means foremost, stability, strength and balance. Balance, both internal and external, must be maintained throughout employment of Nindo Ryu technique. The objective is to increase your stability while eliminating the stability of the attacker, by either their own overreaching or your counter techniques. Almost all execution of technique should cause the student to move to a lower body position, with deeper stances resulting. With the eight basic directions of taisabaki, and the various stances that result, the possibilities of the defender having complete control of the situation are greatly increased
An important aspect of balance is through internal methods. The best example of internal balance is controlled breathing. It allows for greater endurance in executing technique, as well as a more rapid rate of recovery.
Taisabaki – Body Movement
This is the most important part of the tactics that make up Nindo Ryu. Taisabaki translates as “body movement”. There are specific movements practiced at different ranges in order to produce effective Taisabaki. The idea is to move freely with stability and mobility.
Nindo Ryu Taisabaki is known as happo hogaku, or the eight basic compass directions. From the student’s perspective, these directions can be drawn as compass points: North, South, East, West, NE, NW, SE, SW. Most versions of taisabaki involve a preliminary stepping motion. The pivot foot in the direction of the desired compass point with the body swinging outward closely behind the leading foot. We call these “Long Taisabaki”, and they are often used to entice the attacker into a longer second attack, therefore making it easier to defeat him.
Nindo Ryu Taisabaki is a prime example of the necessity of consistent and correct practice of principle. Nindo Ryu Taisabaki requires physical training from the first day until your last. You must master a technique for yourself, relative to the limitation of your own body. Since your body changes through life, you must continuously adjust your movement in order to allow Nindo Ryu Taisabaki and the other principles work for you as you grow older and change.
Kuzushi – Breaking Balance
Kuzushi translates as breaking balance. Kuzushifor the, Nindo Ryu, is divided into levels. At one level, it is exerting your own force to misbalance the attacker, and applying the technique. Kuzushi at the next level is based on the eight directions of movement. One must have sensitivity to the attacker’s direction, and reroute that direction at a distinct angle to undercut their balance (Sanshin, explained below). Kuzushi at the final (Ogi) level involves the full control of the opponents solely through their own momentum.
This is the practice of resisting the natural inclination to lax. One aspect of Zanshin that is commonly discussed in Nindo Ryu is that brief period before and after you face the opponent. You must continue to engage the attacker and the complete surroundings, to use them and him to your advantage as you escape the situation.
Zanshin on a strategic level requires you to perceive all that is around you. Even the unexpected should not surprise you. When confronted with a sudden change of events, you must flow along with them in order to prevail, to persevere. The concept of Zanshin precludes the ability of surprise to freeze you in your tracks. Once the stress of the event has been passed then Zanshin demands that you do not relax, and therefore loose focus.
Ma-ai - Interval
Ma-ai means interval, but in martial arts, it is specifically the “killing distance” between combatants. Nindo Ryu Ma-ai is designed for defending against modern attacks, as well as holding true to the classical model. One must understand the principles, which govern movement, so one can control the Ma-ai. That aspect will be detailed in the Nindo Ryu Taisabaki section. However, we must first discuss the importance of stability, for without it, we cannot move with confidence and would therefore put ourselves unduly in jeopardy.
Kyuko – Balance
Kyuko means foremost, stability, strength and balance. Balance, both internal and external, must be maintained throughout employment of Nindo Ryu technique. The objective is to increase your stability while eliminating the stability of the attacker, by either their own overreaching or your counter techniques. Almost all execution of technique should cause the student to move to a lower body position, with deeper stances resulting. With the eight basic directions of taisabaki, and the various stances that result, the possibilities of the defender having complete control of the situation are greatly increased
An important aspect of balance is through internal methods. The best example of internal balance is controlled breathing. It allows for greater endurance in executing technique, as well as a more rapid rate of recovery.
Taisabaki – Body Movement
This is the most important part of the tactics that make up Nindo Ryu. Taisabaki translates as “body movement”. There are specific movements practiced at different ranges in order to produce effective Taisabaki. The idea is to move freely with stability and mobility.
Nindo Ryu Taisabaki is known as happo hogaku, or the eight basic compass directions. From the student’s perspective, these directions can be drawn as compass points: North, South, East, West, NE, NW, SE, SW. Most versions of taisabaki involve a preliminary stepping motion. The pivot foot in the direction of the desired compass point with the body swinging outward closely behind the leading foot. We call these “Long Taisabaki”, and they are often used to entice the attacker into a longer second attack, therefore making it easier to defeat him.
Nindo Ryu Taisabaki is a prime example of the necessity of consistent and correct practice of principle. Nindo Ryu Taisabaki requires physical training from the first day until your last. You must master a technique for yourself, relative to the limitation of your own body. Since your body changes through life, you must continuously adjust your movement in order to allow Nindo Ryu Taisabaki and the other principles work for you as you grow older and change.
Kuzushi – Breaking Balance
Kuzushi translates as breaking balance. Kuzushifor the, Nindo Ryu, is divided into levels. At one level, it is exerting your own force to misbalance the attacker, and applying the technique. Kuzushi at the next level is based on the eight directions of movement. One must have sensitivity to the attacker’s direction, and reroute that direction at a distinct angle to undercut their balance (Sanshin, explained below). Kuzushi at the final (Ogi) level involves the full control of the opponents solely through their own momentum.