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Tuesday 20:30 - 22:00 Thursday 20:30 - 22:00 Saturday 16:00 - 17:30

Buđinkan Ninđucu Bosna i Hercegovina, Ranka Šipke 84, Banja Luka (2026)

02/09/2026

Little bit more of Tantojutsu

31/08/2026

Tantojutsu, some of the rolling methods with knife

28/08/2026

TSUKI — 突き Više od udarca
Zoran Mijic
English text below

Riječ Tsuki (突き) potiče od glagola Tsuku (突く) — probosti, prodrijeti, gurnuti ili potisnuti naprijed.

Zbog toga je pogrešno Tsuki posmatrati samo kao „udarac“. U japanskom jeziku za udaranje se, zavisno od konteksta, koriste izrazi Utsu (打つ) ili Uchi (打ち).

Kod Tsukija je prvi korak najvažniji.

Iz Seigan no Kamae, pokret započinje potpunim prenosom težine tijela na prednju nogu. Ovdje se izražava princip Ichi-soku Ryoku (一足力) — snaga jedne noge.

Ali ovaj princip ne služi samo za stvaranje snage.

On nam omogućava da premostimo distancu između nas i protivnika.

Zadnja ruka kreće zajedno sa prenosom težine, dok zadnja noga istovremeno pravi korak naprijed. Kretanje ruke i noge mora biti međusobno usklađeno tako da gotovo istovremeno dosegnu svoje odredište. Zbog toga tehnika ne nastaje djelovanjem same ruke, već kretanjem čitavog tijela.

Na završetku pokreta težina tijela treba da se nalazi iznad sredine stopala. Peta ostaje u kontaktu sa tlom, čime se zadržavaju ravnoteža i stabilnost.

Kretanje treba da ostane horizontalno — Suihei (水平), bez nepotrebnog podizanja ili spuštanja tijela. Gornji dio tijela blago se naginje naprijed, stvarajući potrebno poravnanje koštane strukture i izražavajući važan aspekt Koppōjutsua (骨法術).

Ruka kojom izvodimo Tsuki ne treba da bude zaključana u laktu. Lakat ostaje blago savijen, omogućavajući da struktura tijela ostane povezana i sposobna da prihvati silu kontakta.

Zato Tsuki nije samo udarac ili proboj.

On predstavlja jedinstvo rada nogu, prenosa težine, distance, poravnanja, vremena i prodiranja.

Ono što spolja izgleda kao jednostavan pokret ruke zapravo je pokret čitavog tijela.

Tsuki nije udarac koji izvodi ruka — Tsuki je kretanje cijelog tijela koje prodire kroz prostor.

TSUKI — 突き

More than a strike

The word Tsuki (突き) comes from Tsuku (突く) — to thrust, pierce, pe*****te, or drive forward.

For this reason, it is a mistake to understand Tsuki simply as a “strike.” In Japanese, striking is expressed by words such as Utsu (打つ) or Uchi (打ち).

In Tsuki, the first step is the most important.

From Seigan no Kamae, the movement begins by transferring the body weight completely onto the front leg. This expresses the principle of Ichi-soku Ryoku (一足力) — the power of one leg.

But this principle does more than generate power.

It allows us to bridge the distance between ourselves and the opponent.

The rear hand moves together with the transfer of weight, while the rear leg steps forward. The movement of the hand and the movement of the leg must be coordinated so that they reach their destination together. The technique is therefore not produced by the arm alone, but by the movement of the entire body.

At the completion of the movement, the body weight should settle over the middle of the foot. The heel should remain connected to the ground, preserving balance and stability.

The movement should remain horizontal — Suihei (水平), without unnecessary rising or lowering of the body. The upper body inclines slightly forward, creating the necessary skeletal alignment and expressing an important aspect of Koppōjutsu (骨法術).

The striking arm should not be locked. The elbow remains slightly bent, allowing the body structure to remain connected and capable of absorbing the force of contact.

Therefore, Tsuki is not simply a punch or a thrust.

It is the integration of footwork, weight transfer, distance, alignment, timing, and pe*******on.

What appears to be a simple movement of the hand is, in reality, a movement of the entire body.

Tsuki is not a strike performed by the arm — Tsuki is the movement of the entire body penetrating through space.

25/08/2026

UKE — VIŠE OD „BLOKA“
Zoran Mijic
(English text below)

Mnogi ljudi u borilačkim vještinama riječ Uke (受け) prevode jednostavno kao „blok“. Međutim, takav prevod može značajno promijeniti razumijevanje samog principa.

Uke dolazi od japanskog ukeru (受ける) — primiti, prihvatiti, preuzeti.

U tom smislu, Uke nije samo zaustavljanje protivničkog napada. To je način na koji prihvatamo njegovu akciju i nastavljamo vlastito kretanje.

Ako napad samo blokiramo, postoji opasnost da naš pokret postane završna tačka odbrane. Ruka kojom smo blokirali može ostati „zauzeta“ funkcijom bloka.

Ako napad prihvatimo, ista ta ruka može odmah nastaviti da djeluje — kontrolisati protivnika, promijeniti ugao, preusmjeriti njegovu silu, izvesti udarac ili povezati sljedeću tehniku.

U Ninpō Taijutsuu postoje različiti načini Ukea, kao što su:

Uke-dome (受け止め) — prihvatanje i zaustavljanje napada.
Uke-kake (受け掛け) — prihvatanje uz povezivanje sa protivnikovim kretanjem.
Uke-utsu (受け打つ) — prihvatanje koje se neposredno nastavlja udarcem.
Uke-nagashi (受け流し) — prihvatanje i preusmjeravanje napada.
Harai-uke (払い受け) — sklanjanje odnosno „čišćenje“ napada uz mogućnost nastavka.

Zato Uke ne treba posmatrati samo kao tehniku ruke, već kao princip odnosa prema protivnikovoj sili.

Ne radi se uvijek o tome da silu zaustavimo silom.

Ponekad je treba primiti, prihvatiti, preusmjeriti i iskoristiti.

Block may stop an attack. Uke allows us to receive it and continue.

To je jedna od važnih razlika između običnog „blokiranja“ i razumijevanja principa Uke u Budōu.

🇬🇧 UKE — MORE THAN A “BLOCK”

Many people in martial arts simply translate the Japanese term Uke (受け) as “block.” However, this translation can significantly change the way the principle itself is understood.

Uke comes from the Japanese verb ukeru (受ける) — to receive, accept, or take in.

In this sense, Uke is not simply about stopping an opponent’s attack. It is about receiving the opponent’s action while continuing our own movement.

If we merely block an attack, our movement can become the endpoint of our defence. The hand used for the block may become “occupied” with the function of blocking.

When we receive the attack, that same hand can immediately continue to act — controlling the opponent, changing the angle, redirecting his force, striking, or connecting to the next technique.

In Ninpō Taijutsu, we can encounter different methods of Uke, such as:

Uke-dome (受け止め) — receiving and stopping the attack.
Uke-kake (受け掛け) — receiving while connecting to the opponent’s movement.
Uke-utsu (受け打つ) — receiving and immediately continuing with a strike.
Uke-nagashi (受け流し) — receiving and redirecting the attack.
Harai-uke (払い受け) — clearing or sweeping the attack aside while maintaining the ability to continue.

Therefore, Uke should not be viewed merely as a hand technique, but as a principle of dealing with the opponent’s force.

It is not always necessary to stop force with force.

Sometimes we need to receive it, accept it, redirect it, and use it to our advantage.

A block may stop an attack. Uke allows us to receive it and continue.

This is one of the important differences between simply blocking and truly understanding the principle of Uke in Budō.

19/08/2026

KAMAE – PRILAGOĐAVANJE ILI ODUSTAJANJE OD VLASTITOG SISTEMA?
Zoran Mijic
(english text below)

Među mlađim praktičarima Bujinkana ponekad se može čuti ideja da moramo prilagoditi svoj Kamae kako bismo bili sposobni da se borimo protiv savremenih borilačkih vještina.

Ali postavlja se jedno važno pitanje:

Ako promijenimo svoj Kamae da bismo se prilagodili načinu borbe drugog sistema – da li se još uvijek borimo na način koji pripada nama?

Kamae nije samo položaj tijela. On određuje našu ravnotežu, raspodjelu težine, mogućnosti kretanja, zaštitu, uglove i način na koji možemo započeti sljedeću akciju.

Ako ga napustimo zato što želimo da prihvatimo distancu, ritam i način kretanja modernog borca, mi se zapravo odričemo dijela vlastitih prednosti.

Umjesto da protivnika dovedemo u situaciju u kojoj naš način borbe funkcioniše, mi pristajemo da se borimo pod njegovim uslovima.

To ne znači da tradicionalni Kamae treba slijepo ponavljati bez razumijevanja. Naprotiv.

Potrebno je razumjeti zašto je Kamae takav kakav jeste, šta nam omogućava i kako iz njega proizlazi kretanje.

Tek tada možemo govoriti o stvarnoj adaptaciji.

Adaptacija koja proizlazi iz razumijevanja nije isto što i odustajanje od vlastitog sistema.

Ne treba mijenjati Bujinkan da bi izgledao kao savremene borilačke vještine.

Treba razumjeti Bujinkan toliko duboko da njegovi principi mogu odgovoriti i na savremeni način borbe.

Kihon nije ograničenje. Kihon je osnova iz koje nastaje sloboda.

KAMAE – ADAPTATION OR ABANDONING OUR OWN SYSTEM?

Among younger Bujinkan practitioners, there is sometimes an idea that we need to modify our Kamae in order to be able to fight against modern martial arts.

But this raises an important question:

If we change our Kamae in order to adapt to the way another system fights – are we still fighting according to our own principles?

Kamae is not simply a body position. It determines our balance, weight distribution, possibilities of movement, protection, angles, and the way we can initiate our next action.

If we abandon it because we want to adopt the distance, rhythm and movement of a modern fighter, we may actually be giving up some of the advantages our own system provides.

Instead of bringing the opponent into a situation where our method works, we agree to fight according to his conditions.

This does not mean that traditional Kamae should be repeated blindly without understanding.

Quite the opposite.

We must understand why the Kamae is structured the way it is, what it allows us to do, and how movement develops from it.

Only then can we speak about genuine adaptation.

Adaptation that comes from understanding is not the same as abandoning one's own system.

We do not need to change Bujinkan so that it looks like modern martial arts.

We need to understand Bujinkan deeply enough that its principles can respond to modern methods of fighting.

Kihon is not a limitation. Kihon is the foundation from which freedom emerges.

04/08/2026

Gyokko Ryū Kosshijutsu Jō Ryaku no Maki consists of twelve kata that cover a broad range of combative situations, including combinations of punches and kicks, clothing grabs followed by strikes, as well as various attacks from behind such as collar grabs, chokes, and underarm body holds. Through these kata, the practitioner develops an understanding of combative distance, angling, disrupting the opponent's balance, and the precise application of kyūsho.

A characteristic feature of many of these kata is that they begin from a very close combative distance, where the opponent has already established contact or poses an immediate threat. As the technique unfolds, this initial distance gradually increases, creating the space necessary to gain control of the opponent and execute the concluding phase of the technique more safely.

In some lineages and methods of instruction, certain kata begin with the performance of Inzō (印相)—ritual hand seals that should not be understood as mere ceremonial gestures, but as a means of harmonizing breath, intention, and body structure before movement begins. In this way, the first level of Gyokko Ryū already emphasizes that correct technique arises not only from physical movement, but from the unity of mind, body, and intention.

The initial close distance is not accidental. It teaches the practitioner not to seek safety by retreating, but to create safety within danger itself through correct sabaki and changes of angle. Only after control has been established does the distance naturally increase as a consequence of the properly executed technique.

Jō Ryaku no Maki forms the foundation upon which the higher levels of the school are built, introducing the practitioner to the fundamental principles of movement, timing, kyūsho application, and distance management that will gradually develop into increasingly sophisticated combative methods throughout the subsequent levels.

31/07/2026

Kosshijutsu

The unarmed combat system of Gyokko Ryū is founded upon Kosshijutsu (骨指術), a method of combat that emphasizes circular movement around an opponent's attack in order to obtain the most advantageous position from which to strike the kyūsho (vital points). These targets include nerve centers, vital organs, and anatomically vulnerable areas such as joints, tendons, and muscular attachments.

The term Kosshi is composed of the characters 骨 (hone), meaning bone, and 指 (yubi), meaning finger. Symbolically, this reflects the use of precise finger strikes and refined body mechanics directed toward the body's vulnerable structures rather than relying solely on physical strength.

Gyōun Ryūsui – Moving in Accordance with Nature

The techniques of Gyokko Ryū follow the natural laws of movement and change. Their expression resembles clouds drifting freely across the sky—without force or resistance, yet always in harmony with their surroundings.

For this reason, daily training places great emphasis on bringing the body, mind, and breath into alignment with the natural flow of movement. Through years of disciplined practice, the practitioner gradually internalizes the principles of the ryū. Movement then becomes spontaneous and effortless, like clouds carried by the wind. At this stage, techniques are no longer fixed patterns to be recalled but natural responses that arise according to the circumstances.

This understanding represents more than technical proficiency; it leads to a deeper appreciation of nature's principles, harmony with one's environment, and ultimately a way of life that reflects the essence of Budō.

Kawashi – Crossing the Line of Attack

One of the defining characteristics of Gyokko Ryū is its distinctive method of movement known as Kawashi (kawasu). Its purpose is not merely to evade an attack but to reposition the body so that one's own line of movement intersects the opponent's line of attack at the precise moment.

It is at this point of intersection that the practitioner gains the initiative, establishes the most advantageous angle, and creates access to the opponent's kyūsho. Evasion and counterattack therefore become a single continuous action, allowing movement to flow without interruption or unnecessary expenditure of energy.

This principle is a practical expression of Gyōun Ryūsui (行雲流水)—"moving like drifting clouds and flowing water." Rather than opposing force with force, the practitioner adapts naturally to the attack, blends with its direction, and transforms the opponent's movement into an opportunity for decisive action.

30/07/2026

Gyokko Ryū
Shiron (Historical Discussion) – 史論
Mijic Zoran

The history of many traditional martial arts schools cannot be fully reconstructed, as their teachings were transmitted orally for centuries. Throughout this process, names, historical periods, and specific events were often confused or merged. The history of the Gyokko Ryū tradition is no exception. In this chapter, I will attempt to present its development based on the available written sources and the oral tradition (kuden).

To understand the origins of Gyokko Ryū, it is necessary to examine the historical developments that took place in Korea, China, and Japan during that period.

According to the oral tradition (kuden), Cho Busho was one of the individuals who laid the foundations of what would later become known as Gyokko Ryū Kosshijutsu. He is said to have been a high-ranking military officer from Kudara.

Kudara (百済) is the Japanese name for the ancient Korean kingdom of Baekje (백제), which was located in the southwestern part of the Korean Peninsula. Baekje was one of the Three Kingdoms of Korea and was renowned for its military strength, flourishing trade, and its important role in transmitting Buddhism and Chinese culture to Japan. After years of conflict, the kingdom fell in 660 CE to the allied forces of the Silla Kingdom and the Chinese Tang Dynasty.

Closely connected with the name Kudara is the Japanese clan Kudara no Konikishi, founded by Zenkō, the son of King Uija, the last ruler of Baekje. The name Kudara identified their place of origin, while Konikishi (also read Kokishi), literally meaning "king," was a special kabane (hereditary noble title) granted to members of the former royal families of Baekje and Goguryeo, including the Kudara, Shōna (肖奈), and Koma (高麗) clans.

According to the oral tradition, after arriving in Japan, Cho Busho settled in Ise Province near a place known as Tojin Iwa (Karadobuchi – "The Chinese Gate of Deep Waters"). There he is said to have transmitted several martial disciplines to the local population, including Kosshijutsu, Hichōjutsu, Senbanjutsu, Naginatajutsu, and Karauchijutsu.

His son was Chu Busho, whose Chinese name was Zhang Wu Sheng. The historical traditions surrounding Gyokko Ryū also mention a princess named Yao Yu Hu (姚玉虎), who became known in Japan as Yo Gyokko.

According to the tradition, these individuals brought to Japan not only their combat experience but also various fighting methods and technical knowledge, including Karauchijutsu (唐打術), literally "the art of Chinese striking," a term used at the time to describe martial methods associated with Chinese systems of combat.

30/07/2026

Hitori Keiko – The Heart of Solo Training
Zoran Mijic

Hitori Keiko (一人稽古), or solo training, is one of the most important aspects of Budō practice. However, many young and inexperienced practitioners believe that meaningful training is almost impossible without a partner or an instructor. While this assumption is understandable, it ultimately limits their progress.

Hitori Keiko is far more than repeating techniques in empty space. Its essence lies in the practitioner's ability to create a real opponent through visualization. During training, one must clearly perceive where the opponent is, how they move, the line of their attack, their intentions, and how they are likely to react to every movement.

Every technique should be performed as a response to a real, although imagined, combat situation. Without this level of visualization, movement becomes an empty form and techniques lose their Budō meaning. When the mind creates a vivid image of the opponent, the body naturally develops correct timing, proper distance (maai), appropriate angles of movement, and the ability to enter at the right moment.

For this reason, Hitori Keiko is not merely physical practice. It is the training of the body, the mind, and perception. The practitioner learns to think through movement, develops an awareness of space and timing, and becomes independent of constant partner practice.

The time spent in the dōjō is only a part of the learning process. True progress takes place between regular classes, when the practitioner trains alone and takes complete responsibility for their own development. Hitori Keiko cultivates discipline, honesty toward oneself, and the continuous refinement of Budō principles. The clearer the visualization, the closer solo training comes to the reality of combat.

04/07/2026

九鬼神傳流八法秘剣歴史
Kukishinden Ryū Happo Biken Rekishi

Izumo Kanja Yosh*teru 出雲冠者義照 se smatra osnivačem Kukishinden ryu Happo Biken tradicije. Izučavao je Kijin Chosui Ryu (澄水流打拳體術). Prema kazivanju bio je poražen najvjerovatnije tokom Hogen pobune ( 保元の乱 Hōgen no ran - 1156) od strane Fujiwara no Tadamichi 藤原忠通. Fujiwara Tadamichi je bio član politički jakog Fujiwara klana i stao je na stranu cara Go Shirakawa (後白河天皇). Tadamichi je bio najstariji sin japanskog regenta (Kampaku) Fujiwara no Tadazane. Njegov brat je stao na stranu cara Sutoku (崇徳天皇).

Kada je bio poražen Kanja Yosh*teru se povukao u pečinu pod imenom Shishime Dokutsu u provinciji Izumo (vjeruje se da je radi toga dodao naziva Izumo na svoje ime) gdje je sreo borilačkog majstora iz kineske dinastije T’ang po imenu Tetsujoso (Tie Zhang Seng) koji ga je učio borenju sa Bisento. Tri godine kasnije tj. 1159 godine on se priključuje snagama Minamoto Genji ali kada su bili poraženi on bježi u Kinu gdje nastavlja izučavanje borilačkih vještina. Po povratku u Japan uspostavlja tradiciju Kukishinden Happo no hijutsu. Izumo Kanja Yosh*teru je prenjeo tradiciju na Izumo Koshiro Terunobo.

Kukishin-ryū (九鬼神流) koji je osnovao Yakushimaru Kurando Takezane je tradicija sama za sebe

Buđinkan Ninđucu Bosna i Hercegovina

02/09/2026

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Thursday	20:30 - 22:00
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