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Togakure Ryu

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Disclaimer
Please note that Takamatsuden Books are NOT RESPONSIBLE in
any manner whatsoever for any injury that may result from practicing
the techniques and / or following the instructions given within. Since
the physical activities described herein may be too strenuous in
nature for some readers to engage in safely, it is essential that medical
advice is sought prior to any training.

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Takamatsuden Books.

Takamatsuden Books 2010

Togakure Ryu

Togakure Ryu Ninpo Taijtsuu


(Hidden Door Ninja Method Body Arts)

Takamatsuden Books 2010

Togakure Ryu

Mokuroku
(Catalogue)

Togakure Ryu Ninpo Taijutsu


(Hidden Door School Ninja Methods Body Art)

Kamae Kata
(Posture Forms)

Ichi no Kamae (Hira no Kamae) (No. One Posture Flat Posture)

Hira Ichimonji no Kamae (Flat No. One Posture)

Hachimonji no Kamae (Eight Character Posture)

Happo-Gakure no Kamae (All Sides Concealing Posture)

Ton-So no Kamae (Escaping Posture)

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Togakure Ryu

Taijutsu Ukemi-Gata
(Body Art Passive Forms)

Kaeshi Dori (Counter Capture)

Ken-Nagashi (Fist Flow)

Ichi no Kamae (Figure One Posture)

Itto-Dori (One Sword Capture)

Yoko-Geri (Horizontal Kick)

Itto-Giri (One Sword Cut)

Shinobi-Gaeshi-Gata
(Secret Fading Forms)

Kasane-Gaeshi (Nesting Counter)

Kasane-Dori (Nesting Capture)

Sora-Tobi (Flying in the Sky)

Yoko-Nagare (Side Flow)

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Togakure Ryu

Ushiro-Nagare (Back Flow)

Naka-Gaeshi (Middle Turn)

Yoko-Gaeshi (Side Turn)

Tobi-Chigai (Flying Difference)

Itto-Nage (Single Sword Throw)

Teppan-Nage (Iron Plate Throw)

Kiri-Kaeshi (Turning Cut)

Sute-Mi (At the risk of ones life)

Santo Tonko no Kata (Escaping Rat Forms)

Kata Ude Tonso no Kata (One Armed Escape and Run Form)

Hidari Tonso no Kata (Left Hand Escape and Run Form)

Hidari Ude Tonso no Kata (Left Armed Escape and Run Form)

Migi Tonso no Kata (Right Escape and Run Form)

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Togakure Ryu

Migi Te Kubi Suji Tonso no Kata (Right Hand Escape and Run
Form)

Hidari Te Kubi Suji Tonso no Kata (Left Hand Escape and Run
Form)

Ate Komi Tonso no Kata (Hit Include Escape and Run Form)

Kote Uchi Tonso no Kata (Wrist Strike Escape and Run Form)

Migi Uchi Tonso no Kata (Right Hand Strike Escape and Run Form)

Sayu Kumo-gakure no Kata (White Hot Spring Cloud Hiding Form)

Kosei Kiri-gakure no Kata (Achieving Force Cloud Hiding Form)

Hap-po Kiri-gakure no Kata (All Directions Cloud Hiding Form)

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Kamae Kata (Posture Forms)


These 5 Kamae should be practiced with Metsubushi and Shuriken
concealed inside your jacket, and with the Ninja-To (ninja sword)
inside your Obi at your left hip.

Ichi no Kamae (Hira no Kamae)


(No. One Posture Flat Posture)
From Shizen no Kamae step back with the right foot. The feet are
approximately 2 to 3 feet apart with about a 1 inch gap between.
The front foot (left) is angled very slightly to the right. This is not
noticeable to the Uke. The back foot (right) points 45 degrees to the
rear. Lower your centre of gravity as much as is comfortable (this
takes time). Your knees should hide your feet if you are looking
down (important point). Make sure the knees are not buckling
inwards to take the strain. This will hurt initially but the pain is
temporary and, if practiced correctly, will build strong legs. This is
an important point. Your back needs to be angled along the line of
this Kamae you do this by leaning your body slightly back, then
with a feeling of rotating your lower torso clockwise to the point
when the hips lock This will ensure that the back is straight. Make
sure your backside is not sticking out. This is a common mistake and
should be corrected from the start. Keep your shoulders relaxed and
do not hunch them. Your left arm is pointed to the Ukes chest with a
slight bend at the elbow so the arm is not locked (the Kanji for Ichi is
a horizontal line, so your lead hand should emulate this). The hand is
held in such a way that your palm is obscured from the Ukes vision.
The fingers are held straight and together (no tension). Do not open
them. The left hand should be roughly perpendicular to the left foot.
The right hand is held about a fist width away from the chin again
your palm is hidden. Both hands resemble a loose Shuto fist.

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Remember, keep the shoulders relaxed. Your head and neck should
follow the line of your spine with the head facing forwards. Do not
tilt your head to the side. This is a common mistake and should be
corrected from the start. Fix your eyes on the Uke. Take all tension
out of your body and relax. This is Hidari (left) Ichi no Kamae. Do
this on the other side also (Migi (right) Ichi no Kamae).
Kuden
The feeling for this Kamae is not allowing the Uke to get close to you

Hira Ichimonji no Kamae


(Flat No. One Posture)
From Shizen no Kamae step out to the side so that the feet are open
slightly over shoulder width apart. Drop your weight a little to
unlock the knees. The arms are held horizontally out to your sides
with your elbows unlocked. The hands are held out, and slightly
forward and raised to roughly the level of your eyes you should just
about see them in your peripheral vision. Your neck and head are
straight and facing forwards. Take all the tension out of your body.
Kuden
The feeling of this Kamae is either gently wrapping the Uke up,
allowing the Ukes force to go by, or confining the Ukes movements.

Hachimonji no Kamae
(Eight Character Posture)
This Kamae is the same as Ichi no Kamae with the following changes
This Kamae is slightly higher than Ichi no Kamae. Straighten your
back so it is upright, neck straight, and head straight. Your lead hand

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points to the Ukes eyes and your rear hand is vertical, high above
your head/shoulder (elbow unlocked) with the hand held in a loose
fist (this is to hold metsubushi)
Kuden
The feeling for this Kamae is a strong intention to defeat the Uke.

Happo-Gakure no Kamae
(All Sides Concealing Posture)
From Shizen no Kamae, take two Metsubushi from your jacket and
conceal them inside each hand with loose fists. Then step forwards
with the left foot and raise your arms vertical above your head /
shoulders with slight bend in the elbows (similar to Hoko no Kamae
from the Koto Ryu). Drop your weight slightly, body on a 45 degree
angle with your head forwards.
Kuden
The feeling for this Kamae is to be able to scatter Metsubushi in all
directions and then to escape using Goton no Jutsu.

Ton-So no Kamae
(Escaping Posture)
This Kamae is similar to Ichi no Kamae with the following
differences Your leading hand is placed inside your jacket (this is in
readiness to throw Metsubushi or Shuriken to the front) and the back
hand is either supporting the lead hand underneath the outside of the
jacket, or kept on the sword.
Kuden

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The intention with this Kamae is to attack the Uke with Metsubushi
or Shuriken, and then escape to the rear with Goton no Jutsu.

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Taijutsu Ukemi-Gata
(Body Art Passive Forms)
Shuko are worn throughout all of these techniques.

Kaeshi Dori
(Counter Capture)

Begin in Ichi no Kamae. The Uke begins in Daijodan no Kamae. As


the Uke cuts in with Kara Take Wari, step slightly forwards and to
the left with the left foot and drop down to the floor onto the right
knee. Place your hands either side of the Ukes right foot, or strike to
the foot with the back of the right Shuko. The moment you hit the
floor, this should happen all at once. From this position, rebound and
leap into the air and simultaneously kick the Uke to Suigetsu with
Ryote Sokugyaku Geri (double kick to stomach with the toes) and
strike /slap to the Ukes face with the Shuko. Land and immediately
roll backwards to a position of safety and return to Ichi no Kamae.
Zanshin. A couple of important points to learn is the correct distance
for entering in you need to be at a distance where the Uke cannot
counter cut so position yourself so you can control the Ukes hands
with your shoulder if necessary. It is also fine to move to the right of
the Uke in this form. Same technique only this time step to the
right with the right foot, drop down to the left knee and hands to the
floor in between his feet. Lastly, keep in mind that you can pick up
dirt as you drop down and use it as Metsubushi.

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Ken-Nagashi
(Fist Flow)
Begin in Ichi no Kamae. The Uke begins in Daijodan no Kamae. As
the Uke cuts in with Kara Take Wari, Kiai as you move forwards
with the right foot and drop down to the left knee. Then, strike with a
right Shikan Ken to the Ukes Suigetsu. If the distance is closer, step
off a little to the left with the left foot and drop down to the right knee,
and strike the same way. Then, roll to the right side (Yoko Kaiten)
and at the same time strike slap down to the Ukes right Toki (top of
the foot) with the left Shuko, and to the Ukes left Toki with the right
Shuko. Roll to a position of safety and return to Ichi no Kamae.
Zanshin. An important point here is to be underneath the Ukes arms,
not his sword when he cuts. Also, the strike down to Toki can be
replaced with clawing to the Ukes ankles as you roll past them.
Striking to Toki is preferable though and keep in mind the idea of
when you strike/slap the first foot, the Ukes weight will
automatically be on the other foot. Use this as strategy.

Ichi no Kamae
(No. One Posture)
The feeling with this technique is of not letting the Uke approach.
Use this technique to practice striking the Uke with Shuto Ken.
Begin in Ichi no Kamae. The Uke begins in Daijodan no Kamae. As
the Uke cuts with Kara Take Wari, leap left or right past the Ukes
sword using Taihen Jutsu and land to strike with either Ura Shuto or
Omote Shuto
if you are in Ichi no Kamae with left foot forwards, leap in to the left
with the left foot forwards, and at the same time bring the left Shuko

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to the Ukes hands to cover from counter attack and strike the Ukes
right Kasumi or Uko with a right Ura Shuto.
If you are in Ichi no Kamae with the right foot forwards, use
Marutobi (circular leaping) by springing off the left foot (back foot)
in a clockwise direction to the left (Ukes right side). As you do this,
the right Shuko covers from potential attack and the left strikes with
Omote Shuto to either Kasumi or Uko.
From there leap back into Ichi no Kamae and then Zanshin.
Remember, there are 4 strikes to train in total.

Itto-Dori
(One Sword Capture)
The main point of this technique is to receive the sword with the
shuko.
Begin in Ichi no Kamae (right hand forward). The Uke begins in
Daijodan no Kamae. As the Uke cuts with Kara Take Wari, step
forwards with the left foot and bring the left hand up from below to
receive the sword blade at the point just below the tsuba make sure
you keep your body low and keep your fingers right back when you
receive with the shuko. Then, bring the right hand on top to clamp
the sword with the shuko and twist your hands to lock the sword.
Lastly, strike the Uke to Jinchu with a right Ura Shuto. This is all
that is written in the scroll.
This is the variation After the Ura Shuto, put the right hand back on
top of the sword and move it slightly to your left side, then kick the
Uke to either Suigetsu or Kinteki. As the Uke falls, step back with
the right foot trap the sword handle underneath your right arm (press
it between your arm and your body). From this position you can cut
the Uke. Zanshin.

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Yoko-Geri
(Horizontal Kick)
The important point to this technique is how to kick accurately.
Begin in Hira Ichimonji no Kamae. The Uke begins in Seigan no
Kamae. The Uke thrusts with the sword. At that instant, step
forwards to the left and lower your kamae at the same time by
dropping your hips (your body twists slightly clockwise). From here,
kick with the right foot to the Ukes hands to knock the sword away.
Then as the foot lands, strike to Suigetsu with Shikan Ken. Zanshin.
With this technique, remember to stay in a low posture throughout
the technique.

Itto-Giri
(One Sword Cut)
The important point of this technique is how to hold the sword and
how to cut with the sword whilst wearing Shuko. Instead of grasping
the sword handle with your fingers, use the hooks of the Shuko
instead. Begin in Bikenjutsu Seigan no Kamae (refer to the Ninja
Biken Densho for precise information on this Kamae). The Uke
begins in Dai Jodan no Kamae. As the Uke cuts with Kara Take
Wari, drop to the left knee and cut with Gyaku Do Giri to the Ukes
right side. Zanshin.

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Shinobi-Gaeshi-Gata
(Stealing Into And Fading Forms)
These techniques are training for how to fight when discovered while
infiltrating enemy territory.

Kasane-Gaeshi
(Nesting Counter)
An adversary approaches you when you are near a wall / roof in
enemy territory. Put both hands on the wall / roof, jump up on top of
the wall / roof in one motion, and lie flat. The important point of this
technique is pulling yourself up in one motion. This illustration
shows the different styles of wall and roof. You hide on the side
opposite to that which you have jumped onto. If it is a roof with a lip,
hide inside the lip. This is applicable to Kasane Dori also.

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Jump up and place the left elbow on the wall and the right arm over
the wall. This is to hoist your self up onto the wall. Then, you lay
hidden on the inside of the wall so that the enemy cannot see you
from the road.

Kasane-Dori
(Nesting Capture)
This technique is for how to appear suddenly to the enemy from the
peak of a wall, attacking then disappearing in one instant. The
important point of this technique is how to kick with both feet. Begin
by performing the previous technique. As the enemy approaches,
you wait until he is in striking distance, then, swing your legs like a
pendulum (anchor yourself to the wall with your arms/elbows). Kick
to the enemys face with either one or both feet. Then use the
rebound movement from this to swing back onto the wall. Carry this
motion on and leap down to the opposite side of the wall and escape
using Goton no Jutsu.

Sora-Tobi
(Flying in the Sky)
This technique is used when climbing a tree when escaping from
enemies. The method is to leap and catch a low tree branch, then
swing both legs up and over to bring you onto the branch (remember
to choose a suitable branch for this), and then climb to a height that
makes it impossible for the enemy to attack you with a sword or a
spear. Then, attack the enemy with Senban to distract them and when
the timing is right, drop down from the branch and escape using
Goton no Jutsu. Bear in mind that you can use the branches as cover
if the enemy try to attack by throwing spears of firing arrows. The

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important point to this technique is the method of initially leaping to


the first branch.

Yoko-Nagare
(Side Flow)
This technique is for when you are faced with 2 enemies, one to the
front and one to the rear. One has a sword in Dai Jodan no Kamae
and the other has a spear in Seigan no Kamae. You enter into Tonso
no Kamae right side towards the swordsman. You wait for the
moment that the enemy with the spear is about to attack either with
a Kiai or widening of the eyes. At that moment throw Metsubushi at
the swordsman (the densho says a small stone I believe this to be an
example of what can be used if no Metsubushi is available). Then
instantly drop and roll away with Yoko Nagare to a position of safety.
The enemy with the spear will either stab the swordsman instead of
you or hesitate. If the timing is perfect, the swordsman will be
stabbed with the spear. Then, Zanshin. The most important point to
this technique is to know when the most opportune time is to react.

Ushiro-Nagare
(Back Flow)
There are 3 enemies to your front with spears and swords. You stand
in Tonso no Kamae with your right side to the front. At this point it
is important to evaluate their intentions. If you feel that they are
going to attack, then let them come close but not close enough to
attack you. When one or all of the enemies are about to attack, throw
Metsubushi in an arc to the front, then roll away to the rear using
Ushiro Nagare (Koho Kaiten). The important point to this technique
is to roll back even if Metsubushi is not used. If you think about it, if

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these techniques were used outdoors in open grassland or woods,


then you would be concealed to a point in the tall grass or scrub. The
other important thing to consider is how to roll whilst wearing a
sword. It is preferable to pull the Saya out slightly and keep your
hand on the Saya/Tsuba whilst rolling (this is also applicable for the
previous technique).

Naka-Gaeshi
(Middle Turn)
This technique is for when you believe that you are being followed
by enemies. You either use Oten (sideways cartwheel) or Zenpo
Tenkai (forward handspring) to the front to create distance and to
confuse the enemy. Do this soundlessly. Then escape using Yoko
Aruki and then Goton no Jutsu.

Yoko-Gaeshi
(Side Turn)
You are faced with enemies to the front and to either the left or the
right. Use Oten (sideways cartwheel) to escape to the left if the
enemy is to your right or vice versa. Then use Yoko Aruki to escape
then Goton no Jutsu.

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Tobi-Chigai
(Jumping Roll)
This technique is for when you need to climb a tree that is too wide to
get your hands around, or when the branches are too high. Use your
Shuko to scale the tree in this case.

Itto-Nage
(Single Sword Throw)
The techniques name means to throw your sword. This technique is
for when you are in a desperate situation of which there is no other
way out, and you have to take a life. There is no real form to this
technique and it is to be practiced from all of the Kamae. The
optimum distance to throw your sword effectively is about 6 metres
away from the target. The idea is to throw the sword straight ahead.
You should practice against an inanimate object and concentrate on
when is the best point to release the sword to make it fly straight at
the target. It is the same principal as Shurikenjutsu. To clarify, if
you are in Gedan no Kamae or Tosui no Kamae, you throw from
where the sword position is so you throw the sword up and out. If
you are in Seigan no Kamae, Chudan no Kamae or Ichi no Kamae,
then it is more like throwing it straight out. Hasso no Kamae is
almost like cutting and letting go at the optimum time. Kasumi no
Kamae would be to throw the sword in a similar manner of doing a
Shuto fist strike. You get the idea. This technique requires long
practice, and also requires good Taijutsu.

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Teppan-Nage
(Iron Plate Throwing)
Hold nine flat steel plates (Senban) in your left hand and use your
right hand to create spin when throwing them at the enemy. The
main point of this technique is the use of the right wrist. Kneel on the
left knee with the Senban in the palm of your left hand. Use the tip of
your right index finger, thumb on top and the top of the middle finger
to hold the Senban, and use a snapping motion of your right wrist to
create the spin needed to throw them. When wearing Shuko and
throwing Senban, the hand does not close as easily, so you should use
the finger tips more than before. You can also throw to the left with a
right handed throw, palm up, by holding the tip of the Senban. You
do this by kneeling on the right knee and throwing under your left
arm. (the Senban will spin counter clockwise).

Kiri-Kaeshi
(Turning Cut)
The name of this technique means to counter cut. This technique is
to match the Ukes cut with a thrust to his eyes to make him flinch,
then to observe his next move before returning the attack. Begin in
Naka Seigan no Kamae (the tip is slightly lower than in regular
Seigan). The Uke can start in any Kamae. The point is at the instant
the Uke begins to cut, thrust to his eyes with Kiai to make him
hesitate. If he does nothing, then tsuki through the eyes if he shifts
to either your left or your right, then step in with the left foot and cut
with Do Giri to the Ukes right side, or step forwards with Yoko
Aruki with the left foot and cut with Do Giri to the Ukes right side
and carry on moving past the Uke. This all depends on where the
Uke moves, and your decision on the best position to cut the Uke.
The important points are to stop the Uke with a Kiai and a tsuki to the

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eyes, and then to wait to see his next move before you respond. This
is closely related to Kiri-Kaehi from the Ninja-Biken Section.

Sute-Mi
(At the risk of ones life)
The technique means to hold the intention of sacrificing your own life.
This technique is used for when you are faced with many enemies.
The strategy here is to make the strongest looking person or the boss
think that you are attacking them, and then quickly change to attack
the weakest looking one if you are circled, then this becomes the
weakest area in the circle. You begin from Shizen no Kamae. Face
the boss/strongest man and do Kiri Kaeshi (previous technique) but
instead of finishing the technique, turn to cut down the weakest
enemy with any of the techniques that you have learned from the
Ninga Biken Section. Issen Ken or Datou no Ken are best for this.
This is a strategy more than a technique, however, it is an excellent
way to practice flowing from one Biken technique to another.
Remember, the point of this technique is not to get caught up in a
sword fight, the point is to escape. This is closely related to Sutemi
from the Ninja-Biken Section.

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Santo Tonko no Kata


(Escaping Mouse Forms)
When performing these techniques, place three Metsubushi in the
upper inside pocket and nine Senban in the lower inside pocket.
Sword and Shuko are also used. Unlike the previous techniques, the
names of these techniques do not have any deep meanings.

Kata Ude Tonso no Kata


(One Armed Escape and Run Form)
The Uke grabs your right wrist with his right hand. Both Uke and
Tori enter into Hachimonji no Kamae (instead of making a fist with
the rear hand, open it flat so that your palm is towards the Ukes
face). The Uke either tries to pull you towards him, or, you pull the
Uke towards you both ways are correct. Imbed the spikes of the
Shuko into the Ukes wrist and enter into Take Ori as you are about
to put the technique on him (as you put on Take Ori). This is the
form
Either the Uke or the Tori Pulls with 3 shuffle steps to the rear. On
the third step, raise the Ukes wrist with Take Ori and kick with the
right foot to the Ukes right side Koe (to the side of the groin). Your
right foot then lands to the Ukes right side as you pass under the
Ukes right arm in the manner of Yoko Aruki (counter clockwise
movement with your body into the next movement). Finish this
movement by continuing the counter-clockwise movement and drop
to your left knee (facing the same direction as the Uke) and throw the
Uke with Katate Nage (one handed throw). Then immediately stand
up and take your Metsubushi, crush and then throw it at the Ukes
eyes. Lastly, leap back with Chi Tobi and escape using Doton no

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Jutsu (in these cases, that means lying face down on the ground).
Zanshin.

Hidari Tonso no Kata


(Left Hand Escape and Run Form)
The Uke grabs your left wrist with his right hand. Both Uke and Tori
enter into Hachimonji no Kamae (instead of making a fist with the
rear hand, open it flat so that your palm is towards the Ukes face).
The Uke either tries to pull you towards him, or, you pull the Uke
towards you both ways are correct. Imbed the spikes of the Shuko
into the Ukes wrist and enter into Take Ori as you are about to put
the technique on him (as you put on Take Ori). This is the form
Either the Uke or the Tori Pulls with 3 shuffle steps to the rear. On
the third step, raise the Ukes wrist with Take Ori and kick with the
right foot to the Ukes right side Koe (to the side of the groin) and at
the same time grab the Ukes elbow with your right hand. Your right
foot then lands to the front of the Ukes right foot (about 1 foot away
with your foot in the same direction as the Ukes, so similar to Yoko
Aruki) and your left foot comes to the front of the Ukes left (very
close). Drop to your left knee to throw the Uke with Koshi Nage (hip
throw). Then immediately stand up and take your Metsubushi, crush
and then throw it at the Ukes eyes. Lastly, leap back with Chi Tobi
and escape using Doton no Jutsu (in these cases, that means lying
face down on the ground). Zanshin.

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Hidari Ude Tonso no Kata


(Left Armed Escape and Run Form)
The Uke grabs your left wrist with his left hand. Both Uke and Tori
enter into Hachimonji no Kamae (instead of making a fist with the
rear hand, open it flat so that your palm is towards the Ukes face).
The Uke either tries to pull you towards him, or, you pull the Uke
towards you both ways are correct. Imbed the spikes of the Shuko
into the Ukes wrist and enter into Take Ori as you are about to put
the technique on him (as you put on Take Ori). This is the form
Either the Uke or the Tori Pulls with 3 shuffle steps to the rear. On
the third step, raise the Ukes wrist with Take Ori and kick with the
left foot to the Ukes Suigetsu (stomach) and at the same time grab
the Ukes elbow with your right hand. Your left foot then lands to
the back of the Ukes left foot and you pull the Ukes arm to the rear
to take balance at the same time. Drop to your knee and pull the
Ukes arm down to throw the Uke onto his back Then immediately
stand up and take your Metsubushi, crush and then throw it at the
Ukes eyes. Lastly, leap back with Chi Tobi and escape using Doton
no Jutsu (in these cases, that means lying face down on the ground).
Zanshin.

Migi Tonso no Kata


(Right Escape and Run Form)
The Uke grabs your right wrist with his left hand. Both Uke and Tori
enter into Hachimonji no Kamae (instead of making a fist with the
rear hand, open it flat so that your palm is towards the Ukes face).
The Uke either tries to pull you towards him, or, you pull the Uke
towards you both ways are correct. Imbed the spikes of the Shuko
into the Ukes wrist and enter into Take Ori as you are about to put
the technique on him (as you put on Take Ori). Take Ori in this

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technique is with the palm facing the Uke (your index finger finger
points to the right) This is the form
Either the Uke or the Tori Pulls with 3 shuffle steps to the rear. On
the third step, raise the Ukes wrist with Take Ori and kick with the
right foot to the Ukes Suigetsu (stomach) with Kakushi Geri (hidden
kick) and at the same time grab the Ukes elbow with your left hand
from above. Your right foot then lands in between the Ukes feet and
you turn your body counter clockwise as you drop to your right knee
(this is done as the foot lands) and pull the Ukes arm down in an
elbow lock to drop the Uke face down. Then immediately stand up
and take your Metsubushi, crush and then throw it at the Ukes eyes.
Lastly, leap back with Chi Tobi and escape using Doton no Jutsu (in
these cases, that means lying face down on the ground). Zanshin.

Migi Te Kubi Suji Tonso no Kata


(Right Hand Escape and Run Form)
The Uke grabs the back of your collar from behind with the right
hand. The Uke pulls you back 3 times. On the first pull step back
with the left foot (toes point to the left) bring your right foot along
side your left foot (toes forward). On the second pull, stoop low and
step back with the left foot (toes point to the right) bring the right
foot back to the point where the toes are in line with your heels (toes
forward) within this movement place your right hand on top of the
Ukes right hand. On the third pull sink the spikes of the Shuko into
the Ukes right hand and step back with the left foot so that it is
behind the Ukes right foot (toes point to the left) and strike the Uke
to Suigetsu with a left Enpi (elbow) release the Ukes right hand
from your collar by lifting it off with your right hand. Then, bring
your right hand up and over in an arc to throw the Uke with Katate
Nage. Then immediately stand up and take your Metsubushi, crush
and then throw it at the Ukes eyes. Lastly, leap back with Chi Tobi
and escape using Doton no Jutsu (in these cases, that means lying
face down on the ground). Zanshin.

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Hidari Te Kubi Suji Tonso no Kata


(Left Hand Escape and Run Form)
This is the same as the previous technique, only it is done on the left
side this time so the left hand covers, the right leg moves off first and
the right Enpi strikes. The only difference apart from this is that
when you throw the Uke with Katate Nage, you drop to the right knee.

Ate Komi Tonso no Kata


(Hit Include Escape and Run Form)
The Uke is in Dai Jodan no Kamae with a sword. Stand in
Hachimonji no Kamae (left hand forward). At the instant the Uke
starts to cut, step in with the right foot and sink down to the left knee,
then slam into Suigetsu with a right Boshi Ken. Then, throw
Metsubushi, then leap away to the right side and use Mokuton no
Jutsu this is to use a tree for concealment and/or to use the tree as a
barrier between you and the Uke. Keep your posture high and be
ready to throw Shuriken (Zanshin).

Kote Uchi Tonso no Kata


(Wrist Strike Escape and Run Form)
The Uke is in Dai Jodan no Kamae with a sword. Stand in
Hachimonji no Kamae (left hand forward). At the instant the Uke
starts to cut, push off with the back foot and leap forward to the left
(to the outside of the Uke). When you land, strike down with a right
Shuto to Nagare (top of the right forearm). This will make the Uke

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drop the sword. Then, twist your hips counter clockwise and either,
drop to your right knee and strike to Butsumetsu with Shikan Ken, or,
slam the spikes of the Shuko into Butsumetsu (like a slapping
motion). Then, throw Metsubushi, then leap away to the left side and
use Mokuton no Jutsu this is to use a tree for concealment and/or to
use the tree as a barrier between you and the Uke. Keep your posture
high and be ready to throw Shuriken (Zanshin).

Migi Uchi Tonso no Kata


(Right Hand Strike Escape and Run Form)
The Uke is in Seigan no Kamae with a sword. Stand in Hachimonji
no Kamae or Happogakure no Kamae (left hand forward). The Uke
thrusts at you with the sword. At the instant the Uke starts to thrust,
push off with the back foot and leap forward to the right (180 degrees
to the inside of the Uke). When you land, the left hand grabs the end
of the Tsuka (sword handle) and the right hand strikes down to the
Ukes left Hoshi. Pull the sword away from the Uke with your left
hand and at the same time, take out Metsubushi with the right.
Throw the Metsubushi to the Ukes eyes and finish by holding the
sword in such a way that the tip is pointed towards the Uke and then
Zanshin.

Sayu Kumo-gakure no Kata


(Left And Right Cloud Hiding Form)
Two Ukes approach in Dai Jodan no Kamae. Begin in Tonso no
Kamae right hand inside your jacket with two Metsubushi in your
hand. Take the Metsubushi out, place in each hand and stand in
Happo-Gakure no Kamae. As both Uke approach, move side to side
coaxing the Ukes closer together. When they are close together, take

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2 steps back and as they move to attack release the Metsubushi


towards both of them. Then immediately drop low and pass between
them both and strike each of them with Boshi Ken to Butsumetsu.
Carry on forwards and escape by doing Naka Gaeshi (from the
Shinobi Gaeshi Gata) twice and then use Mokuton no Jutsu this is
to use a tree for concealment and/or to use the tree as a barrier
between you and the Uke. Keep your posture high and be ready to
throw Shuriken (Zanshin). Note if there is a third enemy, throw
Shuriken at him first to take him out.

Kosei Kiri-gakure no Kata


(Achieving Force Cloud Hiding Form)
You are surrounded by 4 enemies. They all have swords and are in
any Kamae. You are in Tonso no Kamae. Take out Senban and
throw one at each of the enemy to make them flinch. Then take out
Metsubushi and scatter it in all directions, then, if necessary, throw
more Senban then escape when you see an opportunity using
Ukemi/Kaiten and then use Mokuton no Jutsu this is to use a tree
for concealment and/or to use the tree as a barrier between you and
the Uke. Keep your posture high and be ready to throw Shuriken
(Zanshin).

Hap-po Kiri-gakure no Kata


(All Directions Cloud Hiding Form)
You are surrounded by 3 enemies to the front, and 2 to the rear.
They all have swords and are in any Kamae. You are in Tonso no
Kamae. Take out Senban and throw one at each of the enemy to the
front. The 2 enemies to the rear attack in response to this.
Immediately throw Metsubushi to the rear. After this drop to 1 knee

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and throw Senban in all directions until you see an opening. At that
moment escape using Ukemi/Kaiten and then use Mokuton no Jutsu
this is to use a tree for concealment and/or to use the tree as a barrier
between you and the Uke. Keep your posture high and be ready to
throw Shuriken (Zanshin).

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Togakure Ryu Ninja Biken


(Hidden Door School Ninja Secret Sword)

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Mokuroku
(Catalogue)

Togakure Ryu Ninja Biken


(Hidden Door School Secret Ninja Sword)

Kihon (Fundamentals)

Taitou (Carrying A Sword)

Koi Kuchi Kiri (Breaking the Carps mouth)

Katate Nuki (One Handed Draw)

Hidari Katate Gyaku Nuki (Left One Handed Reverse Draw)

Migi Katate Gyaku Nuki (Right One Handed Reverse Draw)

Kiri-Age (Cut Up)

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Kamae (Posture)

Ichi no Kamae (Figure One Posture)

Seigan no Kamae (Correct Eye Posture)

Chudan no Kamae (Middle Level Posture)

Gedan no Kamae (Lower Level Posture)

Tosui no Kamae (Water Ridge Posture)

Hasso no Kamae (Eight Phase Posture)

Kasumi no Kamae (Mist Posture)

Totoku Hyoshi no Kamae (Sword Hiding Catapult Form Posture)

Ninja Biken no Kata (Ninja Secret Sword Forms)

Hi-Ryu no Ken (Flying Dragon Sword)

Kasumi no Ken (Mist Sword)

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()
Muso no Ken (Ura Nami) (No Thought Sword (Breaking Waves)

Dato no Ken (Striking And Felling Sword)

Issen Ken (A Sword Flash)

Rai-Ko Ken (Lightening Sword)

Itto Nage (One Sword Throw)

Itto Giri (One Sword Kill)

Kiri Kaeshi (Returning Cut)

Sutemi (At the risk of ones life)

Me-Tsubushi (Eye Crush)

Kage no Itto (Shadow of a Sword)

Ninja Iai (Ninja Sword Draw)

Te no Uchi (Hands Inside)

-
Sage-O no Kata Sono Ichi (Sword String Form Version 1)

Sage-O no Kata Sono Ni (Sword String Form Version 2)

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Tai Wari Itto (One Sword Body Cut)

Kihon
(Basics)

Taitou
(Carrying A Sword)
In the Togakure Ryu there are 3 methods of carrying the sword which
are as follows
1, You carry the sword by attaching it to your back with the Sageo
(sword string). This would be used for when you were climbing trees,
or when you were crawling underneath low obstacles. Also, it would
be carried this way when running long distances or when travelling
through woods or thick brush. When wearing the sword on your
back, the Tsuka is at your right shoulder to make it possible to draw
the sword.
2, You wear the sword at the left hip. This is the normal way to wear
the sword and the majority of techniques are done from this position.
3, You carry the sword like a walking stick. This would be used
when the sword was concealed within a Shikomi Zue (blade
concealed within a walking stick) and normally, it would match a
disguise that the Ninja would be wearing.

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Koi Kuchi Kiri


(Breaking the Carps mouth)
This is how to unlock the sword from the scabbard. Normally the
thumb is used to push the tsuba to unlock the sword, but this is an
indication that you are about to draw the sword, so instead, the
Togakure Ryu developed alternative hidden methods for unlocking
the sword.
1, Keep your thumb away from the tsuba so as not to indicate
drawing the sword, and use your index finger from below to push the
tsuba forward to unlock the sword. This will be hidden from the Uke.
2, Press the thumb nail between the tsuba and the mouth of the saya
(koiguchi) to unlock the sword.

-
Iai Batto
You should practice cutting in all directions with Iai Batto.

Katate Nuki (One Handed Draw)


The left hand is on the saya, and the right hand is on the tsuka next to
the tsuba.. Pull the saya out of the obi about half way and then step
back with the left leg and in the same motion remove the scabbard
from the sword by pulling it back. Make sure the cutting edge is face
up. Then, let the sword carry on up and over pivoting on the wrist and
stop when the tip of the sword is at the Ukes eyes. This is the basic.
As an advanced method, alter the position of the saya to change the
angle of the draw. Also, your footwork will depend on your situation,
and your surroundings.

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Hidari Katate Gyaku Nuki


(Left One Handed Reverse Draw)
The left hand is on the saya, and the right hand is holding the tsuka
next to the tsuba. The left hand changes, and holds the Tsuka instead
of the right. Push the tsuka down and rotate the Tsuka clockwise so
that the cutting edge of the blade faces out. This is done in one
movement. Draw the Sword with the back of the blade (Mune)
resting on the outside of the forearm and use the index finger along
the tsuka for stability. This is similar to Jodan Uke from the Ukemi
Gata of the Kukishin Ryu Bojutsu. The idea of receiving the attack is
also the same.

Migi Katate Gyaku Nuki


(Right One Handed Reverse Draw)
The left hand is on the saya, and the right hand is holding the tsuka
next to the tsuba. Rotate the Saya 180 degrees clockwise with the left
hand so the blade is down. Change you grip on the tsuka to palm up.
Draw the sword with Kesa Giri.

Kiri-Age
(Cut Up)

This is for cutting to the Ukes hands from a draw. The basic way of
doing this is with Migi Katate Gyaku Nuki. The Uke is in Dai Jodan
no Kamae with a sword and you are in Shizen no Kamae with your
sword at your hip inside the obi. You prepare to draw with Migi
Katate Gyaku Nuki. As the Uke cuts, you draw and cut the Ukes

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leading hand with a feeling of stopping it and knocking it up. The


important thing here is to keep the hips low as to allow you to counter
the attack from below. Also, your timing has to be when you see the
Ukes front hand starting to move. If you are too late, the Uke will
cut you.

Kamae
(Posture)

Ichi no Kamae
(Figure One Posture)
This is a kamae for responding to any changes the Uke makes, so
follow the Ukes movements with this Kamae. There is also the
feeling of keeping the Uke at bay with this Kamae. The kissaki
(sword tip) is pointed at the Ukes heart. This gives you a position of
safety. Keep your grip on the tsuka loose. Keep your hips low.
Extend your arms and lean back slightly. These are the key point for
Ichi no Kamae.
The feet are approximately 2 to 3 feet apart with about a 1 to 2 inch
gap between. The front foot (right) is angled very slightly to the right.
This is not noticeable to the opponent. The back foot (left) points 45
degrees to the rear. Lower your centre of gravity as much as is
comfortable (this takes time). Your knees should hide your feet if
you are looking down (important point). Make sure the knees are not
buckling inwards to take the strain. This will hurt initially but the
pain is temporary and, if practiced correctly, will build strong legs.
This is an important point. You should lean back slightly with this
Kamae. Make sure your backside is not sticking out. This is a
common mistake and should be corrected from the start. Your
weight should be about 60/40 to the rear. Keep your shoulders
relaxed and do not hunch them. The sword is held horizontally, and

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is held straight out at about shoulder height with a small amount of


give in the arms. Keep your neck and head straight and relaxed and
pointing towards the Uke. Do not tilt your head to the side. This is a
common mistake and should be corrected from the start. Fix your
eyes on the Uke. Take all tension out of your body and relax, and
remember to keep your grip on the tsuka light.

Seigan no Kamae
(Correct Eye Posture)
The intention with this Kamae is to control the Uke with your
strategy and make him attack where you want him to. You do this by
moving the kissaki very slightly to create openings for the Uke to
attack. This is Kyojutsu. You should also have the feeling is of
stabbing at the Ukes eyes if you want to keep him away. Point the
tip of the sword so that it is on the line between yours and the Ukes
eyes. Keep your elbows in and hold your left hand near your right
hipbone, about 1 fist width away. Keep your grip on the tsuka loose.
The feet are approximately 2 to 3 feet apart with about a 1 to 2 inch
gap between. The front foot (right) is angled very slightly to the left.
This is not noticeable to the Uke. The back foot (left) points 45
degrees to the rear. Lower your centre of gravity as much as is
comfortable (this takes time). Your knees should hide your feet if
you are looking down (important point). Make sure the knees are not
buckling inwards to take the strain. This will hurt initially but the
pain is temporary and, if practiced correctly, will build strong legs.
This is an important point. Your back is straight with this Kamae.
Make sure your backside is not sticking out. This is a common
mistake and should be corrected from the start. Your weight should
be about 60/40 to the rear. Keep your shoulders relaxed and do not
hunch them. Point the tip of the sword so that the kissaki is on the
line between yours and the Ukes eyes. Keep your elbows in and
hold your left hand near your right hipbone, about 1 fist width away,
and the right hand should hold the tsuka with the feeling of just
hooking the underneath of the tsuka with your fingers. This is an

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important point. Keep your neck and head straight and relaxed and
pointing towards the Uke. Do not tilt your head to the side. This is a
common mistake and should be corrected from the start. Fix your
eyes on the Uke. Take all tension out of your body and relax, and
remember to keep your grip on the tsuka light.

Chudan no Kamae
(Middle Level Posture)
The intention with this Kamae is to drive the kissaki through the
Ukes heart, and at the same time, you hold a feeling of drifting in
space. The tsuka follows the line of the right forearm. The only
difference between this Kamae and Seigan no Kamae is your left
hand raises slightly to place the kissaki towards the Ukes heart.
Other than that, all the points are the same.

Gedan no Kamae
(Lower Level Posture)
This Kamae is done with a feeling of making the Uke stop or hesitate
with the intention to stab the Ukes foot at the Kyusho called Toki.
Keeping the weight slightly further back is important in this Kamae.
From Chudan no Kamae, keep the left hand in the same position and
lower the right hand so that the kissaki points to Toki on the Ukes
foot. Stare the Uke firmly in the eyes. Apart from these differences,
the kamae is the same as the previous.

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Tosui no Kamae
(Water Ridge Posture)
From Gedan no Kamae, switch feet so that the left foot is in front and
shift your weight forwards. The tip of the sword is as in gedan, with
the left knee just covering the left foot. The weight is mostly on the
lead foot. Offer your left shoulder towards the Uke inviting an attack.
You should put no intention forward and hold a feeling of caution as
if you were standing on a sheet of thin ice. You should allow this
feeling to spread out all around you whilst keeping your nerves on
edge. This is so that you can determine what attack the Uke is going
to make. Dont fix your stare, instead, use your peripheral vision. If
you find this difficult, then stare at the Ukes forehead. In doing this,
the Uke will not be able to determine what you are going to do.
Apart from these differences, the principles of the Kamae are the
same as Gedan no Kamae.

Hasso no Kamae
(Eight Phase Posture)
Build your intent the way energy builds up during a storm with the
feeling of striking down the Uke in one instant, the same way a bolt
of lightening strikes from heaven to earth. Point the kissaki at the
heavens and keep your right hand next to your right ear. The left and
right hands hold the sword very lightly, as if you were just keeping
the sword steady. The left foot is forwards and the right foot points
to the right. The feet should be about 30 to 40 centimetres apart.
Your body is upright. You should drop your hips slightly and keep
your shoulders relaxed, and do not hunch them. Take all tension out
of your body and relax, and remember to keep your grip on the tsuka
light. Your neck and head are straight and relaxed and pointing
towards the opponent. Do not tilt your head to the side. This is a
common mistake and should be corrected from the start. Fix your
eyes on the Uke. (This can easily become Dai Jodan no Kamae also).

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Kasumi no Kamae
(Mist Posture)
This is a Kamae of Kojitsu. Stare vacantly at the Ukes forehead so
as to hide your true intentions. Your Kamae for this is similar to
Seigan no Kamae from the waist down, only your weight should be
central. The sword is held horizontally above the head, with the tip
pointing to the left if the left foot is forward or the right if the right
foot is forward. The sword should be held about head height. Make
sure that your arms do not obscure your face. At most, they should
just cover the chin. Apart from these differences, refer to Seigan no
Kamae for the finer points of this Kamae.

Totoku Hyoshi no Kamae


(Sword Hiding Catapult Form Posture)
This Kamae means to respond to an enemy that you cannot see. The
intention is to hide your body behind the width of the blade and to
remain still. This Kamae is to deflect shuriken or arrow attacks, and
will protect your vital points. Use peripheral vision instead of
looking directly at one spot. It is important not to worry about being
hit, as if you do get hit, then it is very unlikely that the wound will
result in death. To do this Kamae, kneel on the left knee, on your
toes (do not flatten the foot). The right knee is towards the Uke.
Hold the sword out to your centre with the right hand, the edge of the
sword should be facing to the right. Keep your shoulder back to
protect it and your back hand should be at your left hip. Keep your
back, neck and head upright with a feeling of hiding behind the blade.

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Ninja Biken no Kata


(Ninja Secret Sword Forms)

Hi-Ryu no Ken
(Flying Dragon Sword)
This techniques name refers to the way a mythical dragon circles
through the air. This technique is to spin the Ukes sword up and
then to cut him.
The Uke faces you in Seigan no Kamae, and you begin in Ichi no
Kamae. Lunge in and knock the Ukes sword to the left to take it offline. While keeping contact with the sword make 3 large circles
counter-clockwise (this is called Maki Age), using the body, knees
and arms to compensate for the short length of the Togakure blade.
At the end of the third circle, flick the Ukes sword away using the
momentum that you have created. This will put the Uke off balance,
and at that point, cut with Kesa Giri or Do Giri, attacking the Ukes
right side. Repeat this on the other side also, knocking the sword to
the right, making three circles clockwise and finishing with a cut to
the Ukes left side. This is the form. In a real confrontation, it would
be one circle and then cut. The important point is to learn how to
flick the Ukes sword away and to cut within the same movement. It
is also important to learn how to use the back of the blade when
making the circles, to avoid damaging your cutting edge.

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Kasumi no Ken
(Mist Sword)
This techniques name means that your sword movements are a haze
to the Uke.
Begin in Ichi no Kamae. The Uke begins in Daijodan no Kamae.
The Uke attacks with Kara Take Wari. Receive by striking upwards
to the left or the right with the back of the blade. This is called Hane
Age. Do not pull the blade back too far when you do this, or you will
be cut. The area of the Ukes blade that you strike is about half way
down the blade. Then cut to the Ukes neck. Repeat this three times
for the form. The footwork is as follows
Uke cuts right step forwards to right with left Hane Age left step
forwards to the left and cut to Ukes right side neck Kamae Uke
cuts left step forwards to the left with right Hane Age right step
forwards to the right and cut Ukes left side neck Kamae - Uke cuts
right step forwards to right with left Hane Age left step forwards
to the left and cut to Ukes right side neck Kamae. This is the form.
The important point here is do not make the sword movements too
big. Keep your sword movements small and you will avoid being cut.

()
Muso no Ken (Ura Nami)
(No Thought Sword (Inlet Waves)
This techniques name means to move naturally without showing any
intention. This technique is for knowing what to do when your sword
has been deflected by the Uke.
Begin in Gedan no Kamae. The Uke begins in Seigan no Kamae.
You then Tsuki past the Ukes hands to his stomach. This should be
very hard for the Uke to counter. The Uke deflects your sword to the

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side. You respond to this by letting go of all strength in the sword


and allowing the Uke to successfully knock your sword to the side.
You then respond by cutting with Gyaku Kesa Giri. The form is as
follows
You Tsuki Uke deflects your sword to the left Yoko Aruki
forward and to the right with the left foot Gyaku Kesa Giri starting
at the Ukes right hip.
You Tsuki Uke deflects your sword to the right Step forward and
to the left with the left foot Gyaku Kesa Giri starting at the Ukes
left hip.
As strategy it is important to know how to make the Uke block to the
side that you want him to if you so wish. If you thrust slightly to the
Ukes right side, he will deflect the right side of your sword. If you
thrust lightly to the left, he will deflect the left side of your sword. It
is important to allow the Uke to deflect and then cut with Gyaku Kesa
Giri as quickly as you can, so the Uke has no time to cut.

Dato No Ken (Striking And Felling Sword)


The point of this technique is to deflect the Ukes attack upward with
Hane Age and to cut whilst walking.
Begin in Gedan no Kamae. The Uke begins in Seigan no Kamae.
The Uke changes to Daijodan no Kamae. As the Uke cuts in with
Kara Take Wari, receive by striking upwards to the left or the right
with the back of the blade (Hane Age). Do not pull the blade back
too far when you do this. Then move around the Uke using Yoko
Aruki and cut the Ukes neck from behind. This is the form for both
sides
You are in Gedan no Kamae Uke is in Seigan no Kamae Uke
changes to Dai Jodan no Kamae Uke cuts in with Kara Take Wari
You step to the right with the left foot in the manner of Yoko aruki

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and then Hane Age You keep moving in this manner until you are
behind the Uke enough to cut to the Ukes neck.
You are in Gedan no Kamae Uke is in Seigan no Kamae Uke
changes to Dai Jodan no Kamae Uke cuts in with Kara Take Wari
You step to the left with the left foot and then Hane Age You keep
moving in the manner of Yoko Aruki until you are behind the Uke
enough to cut to the Ukes neck.
The important point here is to control the Ukes elbows with your
own. Do not let the Uke counter-attack. Also, keep your sword in a
position where you can cover yourself against a counter attack if
necessary (similar to Kasumi no Kamae). This was a special method
of using the sword that was developed by the Togakure Ryu due to
the length of the sword. It was also a method of defeating a superior
swordsman by taking away their ability to attack. Remember, this
technique is one continuous movement. Even though you are moving
in Yoko Aruki, it is important to keep your upper body facing the
Uke at all times.

Issen Ken
(A Sword Flash)
This technique means to knock down the Ukes sword and cut in an
instant, like a flash of light. There are 2 forms.
Begin in Seigan no Kamae. The Uke begins in Seigan no Kamae.
You then tsuki to the Ukes face. The Uke deflects your sword to the
left or the right (remember, you can manipulate which side the Uke
deflects to). If he moves to your left and deflects, then you use Yoko
Aruki with the left foot forward slightly to the right and use the back
of the blade by turning the wrists counter-clockwise and press the
Ukes sword down to the left. Use your right hand as a pivot for this
movement and the left hand to lever, and use your body weight also.
If you try to do this with just your arms, the Uke will over power you
so Taijutsu is essential. This must be done in immediate response
to the Ukes deflection. After this, step forwards slightly to the right

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with the right foot and cut to the right side of the Ukes neck with a
feeling of rushing past his left hand side. If the Uke moves to your
right and deflects, then the technique is the same, only, step forwards
to the left with the left foot and press the Ukes sword down, and then
move off and cut to the Ukes left side throat with Yoko Aruki. This
is the first form.
The second forms taijutsu is different. Begin in Seigan no Kamae.
The Uke begins in Seigan no Kamae. You then tsuki to the Ukes
face. The Uke deflects your sword to the left or the right. he moves
to your left and deflects, then you bring your left leg forwards and
slightly to the right and bring your left hand up and rotate the tsuka
clockwise so that the position of the sword is following the line of
your right forearm and the blade is flat with the cutting edge facing
behind you. The side of the blade now acts as a shield between this
movement and the next. This is important. Next, move with Yoko
Aruki forwards with the right foot and turn your body slightly to the
right. From this position, cut down to the back of the Ukes sword
with the back or the side of your blade with the feeling of pounding
the Ukes sword down (this is important). From here, step forward
with the left foot and cut to the left side of the Ukes neck with a
feeling of rushing past his right hand side. If the Uke moves to your
right and deflects, then the technique is the same, only, step forwards
to the right with Yoko aruki with the left foot, and bring the right foot
around 90 degrees counter clockwise (you should be standing with
the Ukes sword side on and in front of you) let the tsuka rotate in
your right hand to enable you to strike with the back/side of your
blade (you must learn this movement well, it may be a bit confusing
at first, but when you get it, it will be very effective) and then move
off and cut to the right side of the Ukes throat with the left foot in
Yoko Aruki with the feeling of rushing past him.
For both forms, it is important to remember the rhythm of these
forms Tsuki Press or Pound Down Cut. Your Taijutsu should
be in 3 movements try to understand this well.

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Rai-Ko no Ken
(Lightening Sword)
This techniques name means to use the sword the same way a bolt of
lightening strikes. This technique can be a 2 man technique or can be
done as a solo form. It teaches correct cutting methods. What is
important with this technique is the way you turn your wrists over
whilst moving from one cut to the other. It is also said that this
technique was used by the Togakure Ninja for moving through a
crowd. Another important point is to keep your hips low from the
first cut onwards. Do not let your body move up and down when
doing this. Do not grip the tsuka when doing these movements at
the point of cutting, have the feeling of wringing out a wet cloth with
your hands on the tsuka. This is the correct way to cut. And make
sure all of your cuts are straight and free of tension. It is important to
remember to stop the cut at the point that it would have exited the
Ukes body dont keep cutting as this will leave you open.
There are 7 cuts. The sword cuts are in the following order: Hidari
Kesa Giri Migi Do Giri - Kara Take Wari - Hidari Kesa Giri - Migi
Kesa Giri - Hidari Gyaku Kesa Giri - Migi Gyaku Kesa Giri.

Begin in Hasso no Kamae with the left foot in front. Step forwards
with the right foot and cut Kesa Giri pull the right foot back and
turn the sword over to the left so that your wrists are crossed, right
wrist on top. With the left foot forwards, cut with Do Giri. Pull the
left leg back and you do either one of 2 movements 1, bring the
sword to your right hand side by turning the sword over clockwise
and bringing your left wrist to a point just above the forehead the
sword should follow the line of your right forearm. 2, as you pull
back with the left leg, turn the sword over to the left and bring the
right wrist to a point just above the forehead the sword should
follow the line of your left forearm and your wrists should be crossed.
With these 2 movements, your arms/hands do not cover the face.
From either of these 2 positions, step forwards with the right leg and
cut Kara Take Wari pull the right leg back and turn the sword over
to the left and bring the right wrist to a point just above the forehead

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the sword should follow the line of your left forearm and your
wrists should be crossed. Step forwards with the right foot again and
cut Kesa Giri. Pull the right leg back and bring the sword to your
right hand side by turning the sword over clockwise and bringing
your left wrist to a point just above the forehead the sword should
follow the line of your right forearm. Step forwards with the left foot
and cut Kesa Giri. Pull the left foot back and turn the sword over and
back to the right your right hand should be by your right hip with
the sword at a 45 degree angle behind you towards the floor. Step
forwards with the right foot and cut Gyaku Kesa Giri. Pull the right
foot back and turn the sword over to the left of your body with your
wrists crossed at your left hip. Again the sword should be about 45
degrees to the floor behind you. Lastly step forwards with the left
foot and cut with Gyaku Kesa Giri. And back to Hasso no Kamae
with the left foot in front.

Itto Nage
(One Sword Throw)
The techniques name means to throw your sword. This technique is
for when you are in a desperate situation of which there is no other
way out, and you have to take a life. There is no real form to this
technique and it is to be practiced from all of the Kamae. The
optimum distance to throw your sword effectively is about 6 metres
away from the target. The idea is to throw the sword straight ahead.
You should practice against an inanimate object and concentrate on
when is the best point to release the sword to make it fly straight at
the target. It is the same principal as Shurikenjutsu. To clarify, if
you are in Gedan no Kamae or Tosui no Kamae, you throw from
where the sword position is so you throw the sword up and out. If
you are in Seigan no Kamae, Chudan no Kamae or Ichi no Kamae,
then it is more like throwing it straight out. Hasso no Kamae is
almost like cutting and letting go at the optimum time. Kasumi no
Kamae would be to throw the sword in a similar manner of doing a
Shuto fist strike. You get the idea. This technique requires long
practice, and also requires good Taijutsu.

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Itto Giri
(One Sword Kill)
This technique means to cut down the Uke with one cut. You start in
Seigan no Kamae, the Uke is in Dai Jodan no Kamae. The Uke cuts
down. The idea of this technique is to let the Ukes attack sail past
your right side as you step forwards to the left with the left foot with
a feeling of brushing past him do not stop his attack, this is an
important point of this technique. As you evade, slice the Ukes side
with a stabbing motion by turning your wrists slightly anti-clockwise
to present the edge of the blade to the Ukes side, and dont stop until
you are clear of the Uke. If you wish, you can also turn the blade
over so that the tsuka is in front and slice the Ukes side with a
feeling of pushing the blade through, and using the sword in the
crook of your right arm to help the push. It is important to have your
elbows at a distance so that if you need to control the Uke, you can,
but do not stop the Uke with your elbows remember, the feeling of
brushing past him, not stopping him.
The other way of performing this technique is to drop to your left
knee as the Uke cuts, then turn your wrists counter-clockwise and cut
with Gyaku Kesa Giri then stand up immediately and continue to
thrust through the Uke as in the last form. This variation could be
used if it is not possible to run straight past the Uke maybe there is
an obstacle in the way. So by dropping to the knee and cutting with
Gyaku Kesa Giri, you are moving the Uke to your right side to
prepare for the finish.
This technique would be useful for fighting multiple enemies.

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Kiri Kaeshi
(Returning Cut)
The name of this technique means to counter cut. This technique is
to match the Ukes cut with a thrust to his eyes to make him flinch,
then to observe his next move before returning the attack. The Uke
can start in any Kamae. The point is at the instant the Uke begins to
cut, thrust to his eyes with Kiai to make him hesitate. If he does
nothing, then tsuki through the eyes if he shifts to either your left or
your right, then step in with the left foot and cut with Do Giri to the
Ukes right side, or step forwards with Yoko Aruki with the left foot
and cut with Do Giri to the Ukes right side and carry on moving past
the Uke. This all depends on where the Uke moves, and your
decision on the best position to cut the Uke. The important points are
to stop the Uke with a Kiai and a tsuki to the eyes, and then to wait to
see his next move before you respond.

Sute-Mi
(At the risk of ones life)
The technique means to hold the intention of sacrificing your own life.
This technique is used for when you are faced with many enemies.
The strategy here is to make the strongest looking person or the boss
think that you are attacking them, and then quickly change to attack
the weakest looking one if you are circled, then this becomes the
weakest area in the circle. You begin from Shizen no Kamae. Face
the boss/strongest man and do Kiri Kaeshi (previous technique) but
instead of finishing the technique, turn to cut down the weakest
enemy with any of the techniques that you have learned. Issen Ken
or Datou no Ken are best for this. This is a strategy more than a
technique, however, it is an excellent way to practice flowing from
one technique to another. Remember, the point of this technique is
not to get caught up in a sword fight, the point is to escape.

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Me-Tsubushi
(Eye Crush)
The Metsubushi is made by removing the contents of an egg by
piercing the top and bottom and blowing the contents out. The egg is
the half filled with things such as iron filings, ground chilli, ground
pepper and various abrasives this would have depended on what the
Ninja had available to him at the time. The Metsubushi was also kept
in the bottom of the Ninja-To Scabbard.
The first technique means to make the Uke flinch by using
Metsubushi, and then to cut the Uke down. Begin from Shizen Tai
with the left foot forward with the sword un-drawn. The reason for
standing like this is so that the Uke cannot see you removing the
Metsubushi from your jacket. At the moment the Uke attacks, crush
the egg in your hand and throw the Metsubushi palm up - so that it
creates a belt of Metsubushi in the air. Then, you must wait for the
perfect opportunity to either attack the Uke with any of the
techniques that you have studied, or to escape with Goton no Jutsu.
(there will be a separate Densho on this subject it is too vast to go
into here).
The second methods is as follows: After removing the Metsubushi,
transfer the Metsubushi to the left hand and draw the sword with
the right hand. Stand in Daijodan no Kamae with the Metsubushi in
the left hand. Throw as in the last technique but with the palm down.
The rest is the same.
For the third technique, you stand in Kocho no Kamae (posture the
same as in Ichi no Kamae, sword is in the left hand similar to Kasumi
no Kamae, but with the tip of the sword pointing to the Ukes eyes.
The Saya (scabbard) is held at about 2/3 the way down straight in
front of you at a slight angle - the Koiguchi slightly higher than the
base of the Saya. If there is 1 or 2 enemies in front of you, Make an
arc as though cutting with the Saya to create a belt of Metsubushi in
front of the enemies and then either attack with any of the techniques
you have learned, or escape with Goton no Jutsu. If you have one
enemy to the front and one enemy to the rear, create a belt of

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Metsubushi to the front and cut, then, create a belt of Metsubushi to


the rear and either cut or escape with Goton no Jutsu. These last
techniques are called Itto Ryudan ( Cutting The Gordian
Knot).
Remember, the important point of using Metsubushi is to wait until
the Uke is about to attack his eyes will be at their widest at that
point. Also be aware of the direction of the wind before using these
techniques position yourself with the wind at your back. This is
the use of Tenmon (Heavens strategies).

Kage no Itto
(Shadow of a Sword)
This technique is for drawing the sword when there is either an
obstacle or a person between you and the Uke. It was also used for
when the Ninja wanted to draw the sword in a narrow space, or when
the Ninja was against a wall. Drawing in this way will keep you
hidden and in the shadows. This is used as a strategy in this method.
Please keep this in mind when training this technique. You begin
from Shizen Tai. Step to the left and pull the Saya sword out to the
left with the left hand. Then, push the Saya to the right across your
small of your back with your left hand, so the tsuka is to the right
with the tsuba by your right hip. Place your right palm onto the tsuka
with the palm facing back. Turn the tsuka 360 degrees clockwise
(use the skin between your thumb and index finger called Yahazu for
this do not grasp the tsuka) and bring the sword up over your right
shoulder to draw and cut.
This requires a great deal of flexibility in your wrists, so please bear
this in mind when training there is no way around it, so concentrate
on gaining flexibility in your wrists.

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Ninja Iai
(Ninja Sword Draw)
The point of this technique is to suddenly cut the Uke taking
advantage of your shorter blade. You begin from Shizen-Tai with the
right foot forwards. You let the Uke begin to draw first. At that
instant, you draw and cut to the Ukes wrists in a flash.
How you do this is dependant on the distance. If the Uke is not close
enough for you to cut, step in with the right foot if the Uke is close
enough, step back with the left foot if the Uke is too close, use the
end of the tsuka to smash his hand or elbow.
When you have cut to the wrist, press down with your right hand on
the back of the blade and press the Uke to the floor to control the Uke
also hook the Ukes wrist with your fingers. This is a part of Tai
Wari Itto (the final technique in the densho). This, along with
smashing into the Ukes hand with the end of the tsuka are methods
of Koppojutsu.
For Iai, you can also drop to the left knee to cut underneath the Ukes
wrist.

Te no Uchi
(Hands Inside)
Means to manipulate the sword in your hand or to cut / control the
Uke without fully drawing the sword You begin from Shizen Tai.
The Uke begins from any Kamae. There are 12 of these forms to
teach what Te no Uchi is.

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Sono Ichi
(Number 1)
Begin in Shizen Tai. The Uke begins in Daijodan no Kamae. As the
Uke cuts with Kara Take Wari, move in slightly to the right and
partially draw the blade with the left hand so the Ukes left arm will
be cut as he swings his sword down. Change hands on the tsuka to
your right hand and grab the Ukes wrist with your left hand at the
same time. The blade still cuts into his arm. Take the Uke to the
floor in an anti-clockwise manner by controlling the wrist and
creating pressure / pain with the sword. Finish in a kneeling position
next to the Uke and return the sword to the saya. Be ready to strike to
the head with the tsuka. Zanhin

Sono Ni
(Number 2)
You begin in Shizen Tai. The Uke begins in Daijodan no Kamae. As
he Uke cuts with Kata Take Wari, move forwards slightly to the right
and draw the blade with the right hand so the Uke will be cut as he
swings his sword down. The rest of the technique is the same as the
last.

Sono San
(Number 3)
Begin in Shizen Tai. The Uke begins in Daijodan no Kamae. As the
Uke cuts with Kara Take Wari, move in slightly to the right and
partially draw the blade with the left hand so the Ukes left arm will
be cut as he swings his sword down. You then re-sheath the sword

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and control the Ukes right wrist with your left and strike up to the
Ukes chin with the right palm this will twist the Ukes neck to help
throwing him to the ground. As the Uke falls, keep control of his
right hand you can trap the Ukes hand between your hip and your
Saya., and prepare to strike the Ukes head with the tsuka-gashira if
he resists. Zanshin.

Sono Yon
(Number 4)
You begin in Shizen Tai. The Uke begins in Dai Jodan no Kamae.
The Uke cuts with Kara Take Wari. You shift with the left foot
forwards to the left and strike down to the Ukes right wrist with the
tsuka. Then, place your left foot behind the Ukes right foot and
force the Ukes leg to the floor with your leg. When the Uke is down,
switch knees to your right knee and place it onto the Ukes leg to pin
him. Lastly, prepare to strike the Ukes head with the tsuka-gashira
if he resists. Zanshin.

Sono Go
(Number 5)
You begin in Shizen Tai. The Uke begins in Seigan no Kamae. As
the Uke thrusts with the sword, step out to the left side and strike the
top of the Ukes right hand with the tsuka. Finish by stepping into
the Ukes right side and thrust the tsuka-gashira to the Ukes right
side Butsumetsu. Zanshin.

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Sono Roku
(Number 6)
You begin in Shizen Tai. The Uke begins in Dai Jodan no Kamae.
The Uke cuts with Kara Take Wari. You shift with the right foot
forwards to the right and strike down to the Ukes left wrist with the
tsuka, making the left hand release its grip. You the drop to right
knee and hold the Ukes right hand with your left hand, and at the
same time, grab the Ukes right calf muscle with your right hand.
Press the Ukes right hand outwards and down to take the Uke to the
floor face up (do not pull the Ukes leg for the take down). Pin the
Uke with your right knee and apply your weight through the knee to
pin the Uke from take down to pin must be seemless. Keep
pressure on the Ukes right hand and use your left hand to strike the
Uke with the tsuka-gashira if he resists. Zanshin.

Sono Shichi
(Number 7)
You begin in Shizen Tai. The Uke begins in Dai Jodan no Kamae.
The Uke cuts with Kara Take Wari. You shift with the right foot
forwards to the right and strike down to the Ukes left wrist with the
tsuka, making the left hand release the grip. Then you grab the Ukes
left wrist with your left hand and turn the body counter-clockwise to
bring yourself side on to the Uke. Take the Ukes own Saya with
your right hand and place it onto his elbow to apply pressure. Take
the Uke to the ground in a counter-clockwise motion and pin him
with your right knee. Lastly, prepare to strike the Ukes head with
the tsuka-gashira if he resists. Zanshin.

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Sono Hachi
(Number 8)
You begin in Shizen Tai. The Uke begins in Dai Jodan no Kamae.
The Uke cuts with Kara Take Wari. Step forwards with the left foot
slightly to the left and strike upward with the tsuka to the Ukes left
wrist. Then, take the Ukes wrist with your right hand to your right
hip and the tsuka of your sword on the Ukes elbow for a lock. You
then drop to your left knee and drop the Uke face down to the floor.
From this position, you maintain control over the Ukes right arm and
prepare to strike the Ukes head with the tsuka-gashira. Zanshin.

Sono Ku
(Number 9)
You begin in Shizen Tai. The Uke begins in Dai Jodan no Kamae.
The Uke cuts with Kara Take Wari. Step forwards and to the right
with the right foot and strike the Ukes right wrist from below by
striking upwards with the tsuka (left holds tsuka). Change you grip
with your left hand from the tsuka to the Ukes left wrist, and catch
the Ukes left elbow with your right hand. In a counter clockwise
motion, press the Uke to the floor and pin him with your right knee to
his side, and his left wrist at your left hip. Lock the Ukes elbow
with your right arm. If the Uke struggles, be ready to draw your
sword by holding the Ukes arm and your own saya with your left
hand, and drawing and striking the Ukes head with the tsuka-gashira.
Zanshin

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Sono Ju
(Number 10)
You begin in Shizen Tai. The Uke begins in Dai Jodan no Kamae.
The Uke cuts with Kara Take Wari. You step forwards with the right
foot and drop down onto the left knee and strike with the tsuka to
Suigetsu make sure that you are close enough, not allowing the Uke
a chance to cut again. Rise up immediately and catch the Ukes left
arm and throw with Seoi Nage over your right side you need to
keep awareness on the Ukes sword. Maintain control of the Ukes
left arm. Keep pressure on the Ukes left hand and use your left hand
to draw and strike the Uke to the face with the tsuka-gashira if he
resists. Zanshin.

Sono Ju Ichi
(Number 11)
You begin in Shizen Tai. The Uke begins in Dai Jodan no Kamae.
The Uke cuts with Kara Take Wari. You step forwards with the right
foot and drop down onto the left knee and strike with the tsuka to
Suigetsu make sure that you are close enough, not allowing the Uke
a chance to cut again. Rise up immediately and catch both of the
Ukes arms locking them against your left shoulder. You then throw
the Uke and keep control of the Ukes hands / arms throughout this
movement. Finish by pinning the Ukes hands / arms with your right
knee, and prepare to strike the Ukes head with the tsuka-gashira if
he resists. Zanshin.

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Sono Ju Ni
(Number 12)
You begin in Shizen Tai. The Uke begins in Hasso no Kamae. As
the Uke cuts with Kesa Giri, Yoko Aruki slightly forwards and to the
right with the left foot and thrust the tsuka into Suigetsu. Zanshin.

Sage-O no Kata
(Sword String Form)
The Togakure Ryu uses a small iron weight (fundo) attached to the
end of the Sageo. This was used as a form of Metsubushi when it
was used for fighting. There were countless other applications for
this as I am sure you realise (for when the Sageo is used as a rope). It
was also common for the Sageo to have an egg filled with
Metsubushi attached to the end of it. For these reasons, the Sageo
was usually concealed inside the jacket. The Saya was also used as a
form of Metubushi.

Sono Ichi
(Number 1)
You begin in Shizen Tai. The Uke begins in any Kamae. Place the
Sageo in your right hand The Uke begins to attack. At the point of
attack (same principal as in the technique Metsubushi) you throw
the Metsubushi that is attached to the Sageo at the Ukes eyes. At the
instant the Uke flinches, you draw your sword and cut.

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Sono Ni
(Number 2)
For this technique, you tie the end of the Sageo to your Obi. This is
so when you use the Saya as Metsubushi, you can recover it.
You begin in Shizen Tai. There are 2 Ukes one in front, one
behind they are in any Kamae. Remove the un-drawn sword from
the Obi in your left hand. With Kiai, cut to the Uke nearest you, then,
turn and throw the Saya to the second Ukes eyes as Metsubushi.
Then, you leap and cut the second Uke.

Tai Wari Itto


(One Sword Body Cut)
The name if this technique means to cut using your whole body. This
is more a way of thinking as a strategy rather than a written technique.
It is depends on where your cut lands as to what technique you use
this will pretty much determine what form Tai Wari Itto will take.
This technique is to use Tai-Sabaki, to use your body to cut with the
sword that has already cut into his body, so it is either with a feeling
of throwing, dropping or choking the Uke at this point to obtain
maximum damage and to remove your sword from the Uke. You can
use your hand on the back of the blade to push the cut down, or
your fingers against the wrist to help the blade bite into the Ukes
wrist. As previously mentioned, this is Koppojutsu.

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Published and produced by


Takamatsuden Books

Disclaimer
Please note that Takamatsuden Books are NOT RESPONSIBLE in
any manner whatsoever for any injury that may result from practicing
the techniques and / or following the instructions given within. Since
the physical activities described herein may be too strenuous in
nature for some readers to engage in safely, it is essential that medical
advice is sought prior to any training.

All rights reserved. No part of this publication may be reproduced or


utilized in any form or by any means, electronic or mechanical,
including photocopying, recording, scanning, or by any information
storage and retrieval system, without prior written permission from
Takamatsuden Books.

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Togakure Ryu Tonko no Jutsu


(Hidden Door School Escaping Forms)

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Togakure Ryu Tonko no Jutsu

Mokuroku
(Catalogue)

Togakure Ryu Tonko no Jutsu


(Hidden Door School Escaping Forms)

Mokuton no jutsu (Wood Element Techniques)

Katon no jutsu (Fire Element Techniques)

Doton no jutsu (Earth Element Techniques)

Kinton no jutsu (Metal Element Techniques)

Suiton no jutsu (Water Element Techniques)

Jinton no jutsu

(Human Element Techniques)

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Togakure Ryu Tonko no Jutsu

// /
/ / /
Kinton (Bird Evasion) Juton (wild
Animal Evasion) Chuton (Bug Evasion) Gyoton (Fish Evasion)
Animal Elemental Techniques

Nitton no jutsu (Sun Element Techniques)

Getton no jutsu (Moon Element Techniques)

Seiton no jutsu (Astronomy Element Techniques)

Unton no jutsu (Cloud Element Techniques)

Muton no jutsu (Fog Element Techniques)

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Togakure Ryu Tonko no Jutsu

Mokuton no Jutsu (Wood Evasion Art)


This is the strategy for hiding oneself in bushes and /or behind trees.
Then either attack, the enemy or escape, using the brush for
concealment.
The principles of Mokuton include:
Using the contrast between sunshine and shade created by brush or
grassland, wearing brush, leaves or grasses, capturing the enemies
attention by using brush and grasses to make distracting noises and
movements, simulating a person hiding in the brush.

Gisou no Ho (Camouflage Method)


This is a method of concealment by using the surrounding plant life
to evade, escape or infiltrate.
You must observe what kind of plant life is normal for the area in
which you need to hide in (the more dense the area is, the better).
The method is to tie a Tatsuki (cord) or your sword Sageo around
your body and shoulders in order to attach undergrowth, leaves,
branches and flowers (depending on the type of undergrowth)
vertically into the Tatsuki (insert the foliage to both front and back of
your body). Pay particular attention to breaking the line of your
shoulders. This will make your form harder for your enemy to see.
The main point is to only use plant life from where you intend to
hide. If you move from there to an area with different plant life, you

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Togakure Ryu Tonko no Jutsu

must change it to this. Also, do not use a lot of different types of


plant life as it will make you easier to spot.

Uzura Gakure no Ho

(Crouch And Hide Method)

This is the method used for blending in with the surrounding plant
life and then attacking your enemy by leaping out close to him and
cutting him down using the element of surprise. Firstly you need to
use Gisou no hou .
You need to be as close to the edge of the undergrowth as possible
for this method to be effective if you make too much noise leaping
out from the undergrowth, you will give your enemy time to respond.
You should wait for your enemy to be at a close enough range for
you to effectively surprise him and cut him down.

Metsubushi no Ho (Eye Crushing Method)

For this method you need to cut a branch (about 4 foot) from a tree, a
bamboo or a thorn bush. Hold it behind you in your left hand (allow
it to touch the ground) and hold your sword in your right hand.
As the enemy approaches keep the branch behind you and your sword
to the front approach with caution. When you are at a distance
where both swords are nearly touching, bring the branch forward in a
whipping motion straight across the enemys eyes when the enemy
flinches, either finish him with Bikenjutsu or escape to the rear.

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Togakure Ryu Tonko no Jutsu

Gi Hen Mokuton no Ho

(Deceptive Tree

Evasion Method)
This is a method of causing a distraction for escape, evasion or attack
by shaking the branches of a tree to make the enemy think that you
are there.
In this method you can use a kamayari to shake the branches of a tree
so that you make the enemy think he has discovered you.
Alternatively, you can attach a rope to the branch and attach a wild
animal to the other end of it. As the animal tries to escape, the branch
will move thus making the enemy believe that you are in the tree.
For added effect, you can also place your jacket in the tree so as to
make the enemy investigate further and buy you more time.

To Boku Gi Hen no Ho

(Falling Tree

Deception Method)
This is a method of crushing your enemy by making logs or bamboo
fall on top of him. You can also topple them to create a distraction to
aid escape, evasion or infiltration.
There are many applications of this but to mention a couple, you
stack heavy bamboo poles or logs at the side of a path that you know
your enemy will be using, and when he is parallel with them, topple
them onto him by pushing them over from a high vantage point. Or,
tie heavy bamboo poles or logs to a roof or a high bank when
discovered by a pursuing enemy, cut the rope to make them fall
towards the enemy and aid your escape.

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Katon no Jutsu (Fire Evasion Art)

Katon no jutsu is a way of capturing the sight and attention of the


enemy by creating natural fires from the combustion of various
natural substances, including powders, grasses, oils and so fourth,
then attacking from unexpected directions or escaping. In the
Togakure Ryu, ninja warriors usually carried black powder made
from kiribai (paulownia wood ash) and sulphur. The powder was
mixed in proportion to the strength and amount needed to accomplish
the task at hand.
When the ninja employed their black powder mixes, they frightened
their enemies by throwing black powder mixes directly at them,
setting fire to grasses, brush and trees, and throwing powder mixes
into hibachi charcoal braziers or furnaces. When the mixes exploded,
they took the enemy by surprise during which time the ninja warriors
made sudden attacks, hid themselves in the moats of castles, on the
roofs of houses, in trees, or under the floor.
The most important factor to bear in mind when employing katon no
jutsu tactics is the weather, especially meteorolgical conditions such
as wind and rain.

Hizeme no Ho

(Fire Attack Method)

This is a method of trapping and killing your enemy by surrounding


him with fire.
First, the Ninja prepares the area with the combustible materials to
light and create the fires this must be hidden from plain sight.

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The strategy depends on the situation so, if the Ninja was being
pursued, the idea would be to lead the enemy to the area that the trap
had been placed, the Ninja would then hide on the outer rim of the
area and when the enemy/enemies entered the area, the Ninja would
light the combustible materials. The fire would quickly surround the
enemy and kill him. If the enemy escaped the fire, the Ninja would
cut him down.
If the situation was that the Ninja wanted to kill an enemy using this
technique directly, then the trap would be laid on a path that the Ninja
knew was going to be used by his enemy the rest is the same.
The direction of the wind is a very important factor to consider in this
technique also important is being aware of potential rain. This will
covered in another volume Tenmon Chimon.

Netto no Ho

(Boiling Water Method)

Again, as with most methods, this depends on the circumstances in


which the Ninja finds himself in. The idea is to stop you enemy in
his tracks by throwing or pouring boiling water (or oil) onto him.
The Togakure Ninja would keep pots of water/oil boiling if they
were at camp, then high ground was preferred, with this advantage, if
they were discovered and attacked, they could pour the boiling liquid
onto, or throw the liquid at the enemy. If the Ninja wanted to create
an escape route, then pots of boiling water could be placed under
slow burning fires at a high point and used in the same way to slow
the pursuit and injure the enemy. If the Ninja was defending a castle
wall, the same principle would be used to prevent the enemy from
approaching or climbing the castle walls.

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En Maku Kaku Ran no Ho


Disturbance Method)

(Smokescreen

In this method, water is poured onto a fire to create a smokescreen to


aid escape, evasion or infiltration.
As we have already discussed, the Ninja would boil liquid on a fire.
If the Ninja wanted to create a smokescreen, the wind direction
would be observed, then the Ninja would position himself so that the
wind was blowing in the correct direction (i.e. if the wind was
blowing towards the enemy, then that was preferable), and then the
water would be poured onto the fire to create the smoke.
Another method for creating smoke was to burn dry grass.

Oni Bi no Ho

(Fire Demon Method)

This method used superstition as an advantage Japanese people


hold the belief that the spirits of the dead float in the air. So this
method was used to make people believe that certain areas were
haunted.
The Ninja would soak lengths of cloth in oil and then bind them to
lengths of bamboo that could either be carried, staked in the ground
or hung from trees. When lit at night, they would look like floating
fire balls (fire demons).

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Soku To Ki no Ho

(Breath Attack Tool Method)

The Soku Toki was a small box with Metsubushi mixed with burning
charcoal (blinding powder) inside it the Ninja blew into the one end
and the powder would be released out of the other end towards the
enemies eyes. This was also used by the Edo period police.
The Ninja would use a red Oni (demon) mask in conjunction with
this to create fear and also to create the illusion that the demon was
breathing fiery smoke.

Again, the Ninja had to determine wind direction to use this


technique effectively.

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Doton no Jutsu (Earth Evasion Art)

Doton no jutsu is the method of using the terrain and its features as
tactical advantages. Ninja made sudden attacks from uneven terrain,
and threw mud or stones instead of shuriken to blind and distract the
enemy. Often, ninja warriors would throw rocks or stones in the
opposite direction of their path of travel as a distraction.

Metsubushi no Ho (Eye Crushing Method)

This method is to use dirt as Metsubushi by either kicking it up at


your enemies face or grabbing handfuls of dirt and throwing it at your
enemies eyes. This is done to aid escape, evasion or infiltration. If
you wish to kill your enemy, it is preferable to do it swiftly with this
technique.
If you are kicking the dirt up into the enemies face use Bikenjutsu
Gedan no Kamae and edge forwards slowly and as you do, dig your
front toes into the dirt to gather it in front of your foot (your front
foot does not leave the floor). Try to divert attention to your sword
as you do this. If you are grabbing dirt with your hands, use an
Ukemi type movement so you go to the ground quickly and
rebound quickly and at that instant, you throw the dirt at the
enemies eyes.
These can also be done with sand.

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Mogura no Ho

(Mole Method)

The actual Kanji for this technique means Soil Dragon


but the modern translation is Mole (Gikun).
This is a method for attacking an enemy with a sword or a spear from
a hidden vantage point below the ground (below the level of the
enemy).
If this technique was to be used in a building, then the Ninja would
hide under the floor (in the crawlspace under the house) and wait for
his enemy (to wait by a creaky floorboard would have been a good
indication of location). When the right moment came, the Ninja
would stab up through the floor with either a sword or a spear.
If this technique was used outside, the Ninja would dig a hole in the
ground this would be concealed by laying bamboo poles across it
and laying grass and vegetation on top of that. As the enemy walked
past, the Ninja would stab up with either a sword or a spear (this
technique was best used at a place where the Ninja knew the enemy
would pass special care and attention had to be employed if the area
was well known to the enemy any changes would be noticed).

Rakka no Ho

(Method Of Falling Petals)

This method is to lure your enemy to fall into a hidden hole, then to
kill him. This can be used as part of a strategy for escape, evasion or
infiltration.
As with the last technique, dig a hole and camouflage it well. If the
enemy is chasing you, then you must go in a direction that will
guarantee that the enemy will fall into the hole. If you and your

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enemy are face to face, then you must keep your enemy at bay and
manoeuvre him so the hole is between you and the enemy. You then
coax the enemy to attack thus making him fall into the hole.
At that point, kill the enemy.

Inton no Ho

(Escape And Conceal Method)

This is another method of using a pre dug hole in the ground again
for escape, evasion or infiltration. You can also use a natural
hollow for this method.
If you are discovered, or are about to be discovered, then retreat and
hide in the hole until the danger has passed. If you are discovered
whilst using this method, use Mogura no Ho.

Sekiton no Ho

(Snow Evasion Method)

This method is for using Doton no Jutsu in the snow.


If you are lying in wait in a hole or are luring the enemy towards a
hole that is concealed, then you must ensure that it is still snowing
this will naturally camouflage the trap.
If you are using the sides of a path where the snow has naturally
drifted, then you must pre dig the holes and conceal them with a false
wall of snow.
The principles of Doton no Jutsu are the same.

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Kinton no Jutsu

(Metal Evasion Art)

Kin Ton no Jutsu takes advantage of sound or light from metallic


objects to deceive your enemy, infiltrate enemy territory, attack an
adversary, or escape from danger.
.

Kodama no Ho

(Tree Spirit Method)

This method once again plays on the superstitions held by the


Japanese from this time period if one or more Ninja were to remain
hidden in a wood or a forest and strike metal on metal repeatedly, this
would make people believe that the woods/forest was haunted by tree
spirits. This method also uses sudden unexpected loud noises, such
as thunder or a bell chiming, that startle the enemy to the advantage
of the Ninja.
When working in a team, when the enemy approached, the Ninja
would strike metal on metal to confuse and scare the enemy, and in
the confusion, one or more Ninja would approach and kill the enemy.
Needless to say, this method can be used for escape, evasion and
infiltration.

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()
() Hikari no Ho (Aizu) (Light Method Signals)
This method is used for signaling by reflecting sunlight off a polished
plate or mirror. By facing the sun and tilting the mirror back and
forth, the mirror reflects the sun and light bursts are created.
Alternatively, by passing your hand over the mirror covering and
uncovering it, this can also be used for signaling.

()
Hikari no Ho (Me-Tsubushi) (Light Method Eye Crush)
In the Koto Ryu, there is a sword Kamae called Mangetsu no Kamae
similar to Hoko no Kamae sword handle in your right hand, back
of the blade in your left. It is said that there were 2 methods for using
this Kamae. First was if it was raining, the swordsman would collect
water in the Hi (Blood Groove) of the sword and flick it towards the
enemies eyes. Second was to catch the suns rays in the blade of your
sword. When the enemy was blinded by this, he was dispached.
The Togakure Ryu use Kasumi no Kamae from Bikenjutsu with the
same principles in mind. If the Ninja had a shiny flat plate to hand
(mirror), then this was used as in the last technique to harness light
from the sun but this time to blind the enemy. Escape, evasion or
infiltration was the deciding factor in whether your enemy then lived
or died.

In-Yo no Ho (Light/Dark Mathod)


This method is to take advantage of the contrast between light and
shade and the time the human eye takes to react to this change.

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Regardless of whether its daytime or night time (the moon casts


shadows), this method can be used to great effect.
Trees, bushes, rocks, walls etc. all create shadows. This method is to
hide in the shadows in wait of the enemy (or just to remain hidden)
and when an enemy approaches, you jump into the light and cut the
enemy down, then leap back into the shadow.
The light makes it very difficult to see clearly into shadows (the
darker the better).

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Suiton no jutsu (Water Evasion Art)

Sui Ton no Jutsu is made up of methods for using water to deceive or


escape from an enemy, or to infiltrate enemy territory, or to attack an
adversary. It contains swimming methods, uses for poisonous liquids,
use of breathing apparatus, and deceptions.

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Kaku Shu Koshiki Eiho


Traditional Swimming Methods)

(All Kinds Of

This set of methods have been handed down over the centuries in
Japan. They are used for escape, evasion or infiltration in
circumstances where water is present. As with all of the techniques
in the Tonko no Jutsu, there is a REAL element of danger involved
in performing them. With the Suiton methods it is essential that you
have a training partner with you in case things go wrong. Your local
swimming pool is a great place to practice the swimming methods as
they almost always have lifeguards to hand. Please stay safe when
performing these methods.

Tachi Oyogi

(Treading Water)

This method is used when you wish to remain stationary in the water.
The aim with this is first to use 2 hands, then 1 hand and then just
with the legs. This is a great method for fighting in the water with or
without weapons.
The following explanation is for practicing in a swimming pool.
You can start at the top of the ramp. The water should be up to your
chest, at least. (A gentle reminder that your buoyancy is best over the
deepest water, and buoyancy is what makes treading possible.)
But, progress according to your comfort you have your whole life
to spend enjoying deep water.
As with bobbing, face the wall, hands on the edge, and let yourself
hang in the water a bit. You may sink a little normal.
Your face should be submerged, with your mouth a little open, jaw
relaxed.

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Hold your breath without bubbling it out this time.


Raise your face for your next breath, exhale it all out and submerge
again. Your whole body is relaxed, and you're still holding on to the
pool edge.
Begin with a slow "giant stride" scissor kick slowly. No need to
work hard while treading it's a survival technique. .Your ankles are
relaxed as usual. Each kick pushes you upward.
Now add a wide, ongoing breaststroke-like sweep with your hands,
first in front of you, palms out, pushing water behind you along the
surface, then returning your hands to the front, palms facing as they
meet in front of your chest... back and forth... it's slow but powerful.
You've pushed yourself a bit away from the wall to do this. Come
back at your own pace.
Keep submerging your face, breath held in your lungs (mouth a little
open), raising it up only to take your next breath.
Exhale everything before inhaling. Stay relaxed and curved a bit
forward. Note that your air-filled lungs are the highest part of your
body.
That's it. You shouldn't be too far from the wall and can swim easily
back.
Treading, breathing freely
As you become comfortable treading with your face down, you'll
then:

lift your face up and back,

looking up,

leaning backwards,

as you rhythmically scissor and sweep.

you only need your face clear of the water,

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your body relaxed and

your movements slower than you think.

21

You can adjust your stroking movements, of course, in order to


gradually tread for longer and longer periods.

In tachi oyogi, you can also roll your legs in a more circular
movement with a feeling of pressing the water down. For the arms, it
is preferable if you can perform this without using your arms at all,
but it is also acceptable to use one arm for balance.
To use a sword while in the water:- In such cases, it is important to tie
a cord to your sword in order to prevent it sinking into the water.

Nuki-Te

(Overhand Stroke)

Nuki-te uses a breaststroke-style frog kick, but the arms move in the
manner of swimming the crawl style. This is very effective for times
when you wish to keep an objective in sight, and you wish to swim
fast (this is regarded as the fastest swimming method). You can also
carry a weapon in your mouth (like a Tanto) or tied to your back
(your sword).
Here are some tips for your arms for the crawl method.
1. When swimming front crawl, keep your head still (apart from
when youre breathing). To practice this, swim as far as you can
comfortably manage without breathing and concentrate on the
contrasting feeling of your hips rocking while your head stays still.
2. Although the exact path of the pull is a lot down to personal
preference, keep the following in mind.
You wouldnt haul a rope in with your arms out to the side of your
body, youd do it towards your stomach. So at the beginning of the

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pull (before youve reached your waist) try to keep your hand
somewhere near the centre line of your body.
As you pass your waist and the pull turns more into a push start to
move the hand further out away from the body you wouldnt do a
push up with your hands close to your body, youd keep them
shoulder width apart.
Although the arm obviously starts straight, have a slight bend in your
elbow during the main part. Longer levers may well be more
effective but you need to be very strong to control them.
Try imagining that there are a series of poles sticking up out of the
bottom of the pool and that you have to grab hold of them and use
them to pull yourself forwards.
4. The path of the arm recovery over the water is again a lot down to
personal preference and youll see all sorts of styles even at top level
swimming, but we would recommend that as your arm recovers you
tuck it in so that your hand passes fairly close to your arm pit.
The following concerns the frog kick method for the legs.
The leg movement, colloquially known as the "frog kick", consists of
two phases: bringing the feet into position for the thrust phase and the
in sweep phase. From the initial position with the legs stretched out
backward, the feet are moved together towards the posterior, while
the knees stay together. The knees should not sink too low, as this
increases the drag. Then the feet point outward in preparation for the
thrust phase. In the thrust phase, the legs are moved elliptically back
to the initial position. During this movement, the knees are kept
together. The legs move slower while bringing the legs into position
for the thrust phase, and move very fast during the thrust phase.
Again, the goal is produce maximum thrust during the in sweep
phase, and minimum drag during the recovery phase.
As a variant, some swimmers move the knees apart during the
preparation phase and keep them apart until almost the end of the
thrust phase. Moving both knee and foot outwards like a real frog
avoids the extreme rotation in the lower leg.

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Swimming)

23

Aori Hira (noshi)

(Flat Scissor Legs

This is a swimming method handed down in the Togakure Ryu. You


can swim both quickly and soundlessly. The front arm strokes below
your body, and the rear arm makes large strokes along the line of the
body, down toward the legs. The leg stroke is called Aori Ashi.
One leg kicks the water with the top of the foot, and the other kicks
the water with the sole of the foot like in the breaststroke. The legs
move in a scissoring action.
Here, too, a weapon can be carried in your mouth or tied to your
back.

Hobaku Oyogi

(Restrained Swimming)

This method is a last-resort swimming method for surviving when


you have been tied up and bound. Float face-up, and move your
entire body like a dolphin in order to propel yourself through the
water. When you reach the shore, try to shoot your body out of the
water using this propulsion and slide your back up the shore to reach
dry land.

Doku-Mizu Teppo no Ho

(Poison Water

Cannon Method)
The doku-mizu teppo is a water cannon made from bamboo and filled
with poisoned water. Prior to using the cannon, block the hole, for
example with grass or wax. Shoot it at an enemies eyes or mouth.

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You can then escape or attack during the opening when the enemy
reacts to this. There are both large and small versions of this weapon.
For using the cannon, place the end against your lower abdomen and
pull the water tube towards you. This allows for accurate aim and
more power so the jet of water will fly further.

This is how to make your own Mizu Teppo


These are the materials that you will need to make the water gun (see
illustration on the next page)
1 piece of bamboo pole with the appropriate holes drilled.
1 smaller stick with the appropriate holes drilled.
1 piece of bamboo to make the handle with appropriate holes drilled.
1 length of soft cotton.
1 square piece of cloth.

Materials needed for the Mizu Teppo.

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The handle is placed onto the plunge stick and pegged into place.

Place a couple of pegs on the other end of the plunge stick to hold the
soft cotton in place.

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Wrap the soft cloth around the pegs .

Secure the cotton with an elastic band or some string.

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Wrap the square of cotton around this and secure it with an elastic
band or some string.

This in the plunge stick completed.

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The one end of the bamboo is bored out completely this allows the
plunge stick to be put in (this is also the end that the water is placed
in.

The Mizu Teppo is now ready to use.

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This is a view of the front you can see that a smaller hole is in the
front to allow a smaller stream of water to be pushed out when the
plunge stick is pushed. This can always be plugged with wax or dirt
if the weapon is not to be used at the time.
As for the poison liquid I believe that this weapon would have been
used as a kind of Metsubushi tool. If the water was infused with
chillis, vinegar, lemon juice and of course poisons (for example, the
poison that comes from the blowfish) when pointed towards the
enemies eyes or mouth, the effect on your enemy would be instant
pain / discomfort and would allow you to escape, evade or infiltrate.

Gi Hen Kaku Ran no Ho

(Deceptive

Disturbance Method)
This method is used if you are being pursued by an enemy close to a
pond , river or a stream.

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To make the enemy believe that you have entered the water, you pick
up a large stone or a branch and throw it into the water immediately
go in the opposite direction and hide using any of the methods written
in this book.
As the enemy investigates this, you either escape evade, infiltrate.

Mizu Gumo no Ho

(Water Spider Method)

This is a device for floating, suspended in the water. Four to Five


separate compartments are made from rabbit skins and inflated.
These are held together by string and tied together to create a circle.
In the centre, there is a wooden seat also attached to the circle.

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This is a device for floating, suspended in the water. Four to Five


separate compartments are made from rabbit skins and inflated.
These are held together by string and tied together to create a circle.
In the centre, there is a wooden seat also attached to the circle.
In shallow water, a Kama-yari can be used as a rowing pole. The
Kama part of the blade can be used for either snaring an object on
shore to aid getting out of the water, or as a weapon.

In deeper waters, a Shinobi-Gai ( Stealth Paddle) is used.


This is made from a 3 foot length of bamboo with a fan of bamboo
strips on the one end and a hidden weighted chain on the other. The
chain is used for either snaring an object on shore to aid getting out of
the water, or as a weapon.
With the mizu-gumo, it is important to move your legs like a
swimming bird for balance.

Sui Chu Ki no Ho

(Underwater Tool Method)

The Sui Chu Ki is a tool used in the Togakure Ryu. It is made from
a 3 foot length of bamboo with a mouthpiece attached to it, and has
two main uses. The first use is for breathing when you are
underwater. It can also be used as a horn, like a conch shell for
signalling. It can of course be used as a weapon.
For staying underwater, it is important to stay submerged by using
one hand to hold onto reeds, or something to prevent you from
floating to the surface.

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Be sure to breathe only through your mouth, not your nostrils if


needed, you can always block your nostrils prior to using this
method.
It is possible to remain submerged for 12 hours using this method.

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Jinton no jutsu

(Human Element Techniques)

Jinton no Jutsu is the use of disguise and identity concealment


(Hensojutsu ) to escape, evade or infiltrate the enemy so
learning how to imitate the following convincingly is important.
This has a close relationship with theatre and acting. Jinton no jutsu
also includes ways of using the different classes of people for escape,
evasion and infiltration.

Danton (Male)
Depending on whether or not you yourself are male (Jin )or female
(Onna ), depends on the approach you will take.
Men are egotistical creatures and as such, you can use honour,
embarrassment, vanity or pride against them to manipulate them into
doing your will.
It is also important to discover the mans interests and daily routine
as this can be vital in ones strategy for using him.
Sex is always an important factor in the manipulation of men, so it is
important to know the mans sexual orientation in order to be able to
exploit him. It is also important to know how to use Kunoichi
(Female Ninja) effectively to obtain information from men.

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Onnaton (Female)
Females are also creatures of ego and as such, the same applies to
females as does to males.
Gossip amongst females is also something to consider this can be
very effective to spread disinformation.
It is important for the Ninja to know how to impersonate a female and
understand the strategies of the Kunoichi to be able to use them
within a situation.
Kunoichi (Female Ninja) were trained differently from male
ninja. Their training focused more on disguises, poisons, and using
their gender to an advantage. While they were trained in close
combat, they were only to make use of this knowledge if they were
caught.
They would usually disguise themselves as geisha, prostitutes,
entertainers, fortune-tellers, and the like to get very close to the
enemy. It is thought that they would generally seduce the soon-to-be
victim and when they get close enough, would poison them, but it is
just as possible they would be disguised as a household servant,
allowing them many opportunities to overhear information or get
close to a victim.
Kunoichi would hide a variety of hidden weapons on their persons.
They would also conceal weapons within everyday items such as a
knife within a bunch of flowers or poison dust on the flower itself.

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Roton (Elderly)
Elderly people are very good sources of information gathering within
regions as they have most probably lived in that area most of their life
and know a great deal about the comings and goings within that
region.
Typically, old people are happy to talk to anyone especially ones
that have no immediate family caring for them, so gaining their trust
and obtaining information from them is not difficult.
Old people also know everything from local legends to the lay of the
land (topography) which is vital for Tenmon / Chimon (see last
section).
Lastly, it is vital to study the mannerisms and the way old people
move for example, if an old person worked as a farmer all his life,
then he would probably be hunched over and suffering from arthritis,
where as an old samurai may suffer from old war wounds and bear
scars. This in an important aspect of Henso Jutsu.

Yoton (Young and infants)


Children are playful by nature, so a good method of escape is to
coerce the children to play some game or other close to your enemy
as a distraction to aid your escape, evasion or infiltration. Also, a
woman carrying her child would be a clever disguise for a Ninja as it
would not draw much attention and for what people may presume is
a baby, may actually be Ninja tools etc.
Children are also trusting by nature and may be bribed either with
food or money to give information without them realising they are
doing it.

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Children would also be held captive in order to blackmail the parents


and relatives. Hostage swapping was a common practice in any
negotiations as a trust bond.

Kiton (Aristocracy)
The most important factor to consider when it comes to aristocracy is
the various rules regarding etiquette, proper speech and the
hierarchical structures within this class so the Ninja needed to be
able to blend into this environment either as a high ranking Samurai
or as the hired help but it was vital to understand the correct way
to conduct ones self to effectively disappear. Also, for instance, a
Daimyo, or Shogun for that matter, would have advisors for the
various decisions that they would have to make in the day to day
governing of their fief or country. It was important for the Ninja to
know who was who to enable him to potentially manipulate the
Daimyo or Shogun either directly or through his advisors. It was a
well known fact that the Ninja often pulled the political strings of
power without anyone realising it.

Senton (Poor)
Poor people would often beg in public places such as local temples,
shrines and busy town areas, and as a result they would be in a
perfect position to gather information about the region / town so the
Ninja could either offer money or food for this information as they
would almost certainly be susceptible to bribes. The most likely
scenario would be that the Ninja would disguise himself as a beggar
and carry out this information gathering while remaining invisible
within these surroundings.

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Hensojutsu
Hensojutsu is the art of disguise. The most important part of this is
Shichihode (seven disguises) and is made up from the
following
Tsune no Kata (commoner, including Ronin, or masterless
samurai, farmers and townspeople),
Sarugakushi (Travelling Entertainer / Dancer)
Hokashi (Travelling Entertainer / Minstral / Magician)
Shukke (Monk),
Komuso (bamboo flute playing mendicant zen priest)
Yamabushi (mountain-dwelling ascetic)
Shonin (merchant)

You should study all of these thoroughly and understand that there is
a close relationship with this to the performing arts. So, you should
study different styles of clothing for all classes, the way people
appear and the use of makeup to aid your appearance (special
attention should be placed on the eyes), the different hair styles of the
various classes and changing the shape of your body with both
posture and prosthetics and lastly matching your movement to fit
your disguise. You also need to study different dialects of speech and
the customs that are specific to the region that you are in. If your
disguise includes a musical instrument or an art such as the tea
ceremony (for example) you should master these arts so as to be
convincing it is the small details that will give you away.

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Kinton (Bird Evasion) Juton (wild Animal Evasion)
Chuton (Bug Evasion) Gyoton (Fish Evasion)

Kinton (Bird Evasion)


This is how to use birds within the strategies of escape, evasion and
infiltration. Over the centuries and all over the world, people have
trained birds for a variety of purposes. Birds of prey are used for
anything from hunting to keeping other birds and small animals away
from your area. Pigeons are used for carrying messages to a specific
location and have been effective for many hundreds of years. Birds
of prey can be very effective in stopping messages getting through
via pigeons. Birds of prey can also be used to attack and kill the
enemies fowl.
Ninja would learn how to startle birds to create a distraction against
the enemy. They would also learn to mimic certain bird calls in order
to attract or startle birds.

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Saiminjutsu (Hypnosis) could also be used on certain birds.


For example
Closing a chicken's eyes and stroking its back will paralyse the bird.
Clapping your hands next to the head will awaken the chicken.
Covering a love birds eyes and then shaking it will also paralyse it.
The bird will appear dead. Throwing it into the air with a Kiai will
awaken it the bird will not fly, rather flap its wings frantically and
fall to the ground.

Juton (Wild Animal Evasion)


This is how to use animals within the strategies of escape, evasion
and infiltration. Over the centuries and all over the world and
throughout the ages, people have domesticated dogs and used them to
perform various jobs including guard dogs, drugs and explosives
detection, guide dogs and of course as companions. The best way
to befriend a dog is to give it food. However, this may not always
work as they may have just been fed, so be aware of this. Also, dogs
are prone to enjoy a good game of fetch (use this to get the dog away
from you) however, they usually return with the item for you to
throw it again so this wouldnt be a good strategy if you wanted to
remain undetected by humans. If you use food to befriend the dog,
be aware that you can also drug or poison the dog if needs be. If you
have a dog hunting you, rubbing another animals scent on yourself
will mask your own scent.
It is important to know how to trap wild animals to be able to use
them to aid escape or for a food source if necessary.
Ninja would sometimes tie a wild animal to a tree. The tree would
move and alert the enemy. As the enemy inspected the tree, this
would allow the Ninja to escape, evade or infiltrate the enemy.
Ninja would sometimes keep mice in their pockets. If the mouse was
released into a room where people were relaxing or sleeping, this

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would cause panic amongst the people within the room especially
women and children. This would create a great diversion for the
Ninja.

Chuton (Bug Evasion)


This is how to use snakes, toads and spiders etc. within the strategies
of escape, evasion and infiltration. These animals can be easily
placed in the pocket. Snakes were attached to the weighted end of the
kusarigama. When thrown at the attacker and the rope wrapped
around them, would result in the attacker being bitten by the snake. In
this case the snake does not need to be poisonous. The sheer fact that
they had been bitten was enough to scare some people to death.
People are naturally jumpy when it comes to these kinds of animal,
so if such things are released into a room again while the people
are either relaxing or sleeping, this will have great effect and cause
much fear.
In the old days the Samurai would listen for the sounds of crickets.
The reason for this was that when humans approach crickets, they
stop rubbing their legs to hide themselves from coming danger. To
counter this, the Ninja would breed crickets and keep them around
humans all their life. They would be taken with them, and as such
when the wild crickets became quiet, the bred crickets would be
released and continue making a sound thus the Samurai would not
be distracted.

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Togakure Ryu Tonko no Jutsu

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Gyoton (Fish Evasion)


This is how to use fish within the strategies of escape, evasion and
infiltration.
Firstly, it was important for the Ninja to know how to catch fish
fish is, and has been for many hundreds of years, a main staple of the
Japanese diet.
A Ninja could poison the waters of an enemys territory to kill the
fish thereby taking away an important food source.
Fugu (Blowfish) livers contents are highly poisonous. This
poison was used for the tips of shuriken, arrows, darts and even
sword blades.
Another method was for the Ninja to disguise himself as a
fishmonger messages or weapons could be hidden in the fish and
easily transported or passed on without arousing suspicion.

Nitton no jutsu (Sun Element Techniques)

The most important aspect of Nitton no Jutsu is Kurai Dori or


Proper Positioning to position yourself to use the sun to your
advantage.
The sun must be kept behind you at all times when fighting an enemy
this will blind the enemy thus creating a natural advantage.
If the sun is in front of you and you are faced with an enemy, use
your sword or any metallic object to reflect the sun towards the

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enemys eyes to temporarily blind him and take advantage at that


moment.

Getton no jutsu (Moon Element Techniques)

This is to use the moon for attack, evasion and infiltration.


Knowledge of the timing of the moons cycle is essential. You move
when the moon is new and remain still and observe when it lights up
the earth use the shadows that are created naturally for this this is
similar in method to In/Yo no Ho from Kinton no Jutsu.

Seiton no jutsu (Astronomy Element Techniques)


Seiton no Jutsu is used for navigation at night you use the well
known constellations to determine longitude and latitude. You need
to study star patterns in relation to where you live and create a chart
that you can determine direction from. This is used to aid attack and
retreat at night. If it is cloudy, usually landmarks will be silhouetted
against the clouds this should also be studied within your local area
i.e. a lake will show up differently against a cloud as opposed to a
field.

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Unton no jutsu (Cloud Element Techniques)

This is the method of using clouds for escape, evasion or infiltration


by using naturally occurring cloud phenomena to your advantage.
In the Togakure Ryu, the clouds are used as a blanket that covers the
moon at night thus creating darkness. This is known as Ankoku
Toshi Jutsu meaning Darkness Perspective. Ankoku Toshi no In is
related to this it is used for seeing into darkness.

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Muton no jutsu (Fog Element Techniques)

Also called Kirigakure no Jutsu, Muton (Mu means fog) is for


moving an army or disappearing in fog. There are two main uses for
Muton no Jutsu - the first is to determine when the fog will come
down, the second is using it at the moment it arrives. For example,
fog usually arrives after a lot of rain has fallen when there is warm,
still air or when rain comes from the sea to the land in the morning,
followed by a warm southerly air current in the afternoon, then a cool
northerly wind in the evening. This is based on predictions from
Tenmon Chimon and as such you must understand that predictions
are purely based on weather lore and differ from country to country,
region to region, season to season. You must study this for your own
region or for regions / countries that you intend on visiting.

Takamatsuden Books 2010

Togakure Daisuke
: Togakure Daisuke
was born in Shinsyu, near to Azumino
1st Soke
province during the Oho era (1161-1162), at the time of his youth he was known as
Nishina Daisuke. Daisukes father was Nishina Yukihiro, and was a senior vassal
(Samurai) of Kiso Yoshinaka, cousin of Minamoto Yoshitsune, and Minamoto Yoritomo
(the first of the hereditary Shogun's). Nishina Yukihiro Daisukes father was also killed at
the Awaza no Kassan.
In the 1180's, Daisuke was the second son of Yukihiro, fought for the losing side in a
battle in the army of Kiso Yoshinaka. After the battle he managed to escape across
Japan, where he finally ended up in Togakure village in the Nagano mountain region
(Togakure village is now called Togakushi village).
Here he studied the Shugendo sect of Buddhism, and learnt Ninjutsu under Kagakure
Doshi. Kagakure Doshi is reputed to have been a Ninja from the Hakuun Ryu.
Another theory about how Daisuke came to meet Kagakure, is that Daisuke went first to
Iga after the battle, where he was found by Kain Doshi (another name for Kagakure
Doshi), whom some believe to be his uncle, but this cannot really be verified.
Apart from Daisuke, Kagakure also taught Shima Minamoto (who was to become the
second Soke of Togakure Ryu). Kagakure had found Shima injured after a battle he had
taken part in. Daisuke later took Shima into his care, and continued his training.
Kagakure Doshi, taught Daisuke, the Happo Hiken, which included early forms of
Jojutsu, Sojutsu, Naginata, Taijutsu, Muto, Koppo, and Shuriken. This may have been
related to the early origins of the Amatsu Tatara Hibumi. A set of scrolls on warfare
written in the 6049 ad. The Ongyo Jutsu originates from this Amatsu Tatara Hibumi no
maki, being introduced directly from the Hakuun Ryu in to the Togakure Ryu.
When Kagakure took care of Daisuke he taught him all of the Hakuun Ryu skills.
Daisuke adopted Kagakures warrior teachings (Happo Hiken) to his own Shugendo
training, and the beginnings of the Togakure Ryu were formed. Togakure Ryu never had
an official founding, as do some martial arts Ryu-ha. In the beginning there was Daisuke,
his son, who was his first student, and Shima who worked, and studied with Daisuke.

TOGAKURE RYU NINJUTSU


"Hidden Door Tradition, Stealth Methods"
Ninpo Taijutsu
Kamae
Ichi no kamae (Hira no kamae)
Hira Ichimonji no kamae
Hachimonji no kamae (Doko no kamae)
Happo Gakure no kamae
Tonso no kamae
Taijutsu Ukemi Gata
Kaeshi Dori "Turnover attack"
Ken Nagare/Ken Nagashi "Fist flow"
Ichi no Kamae "Posture of one"
Itto Dori "One sword catch"
Yoko Geri "Side kick"
Itto Geri / Itto Giri "One sword kick"
Shige Gaeshi/kasane Gaeshi "Lying-On-Top counter"
Shige Dori/ kasane Dori "Lying-On-Top catch"
Sora Tobi
Yoko Nagare "Sideways flow"
Ushiro Nagare "Backwards flow"
Naka Gaeshi "Front somersault" (Chu Gaeshi)
Yoko Gaeshi "Sideways somersault"
Tobi Chigai "Leaping somersault" (Tobi Gaeshi)
Itto Nage / Itto ryu dan "One Sword Throw"
Teppan nage
Kiri Kaeshi "Cut reversal" (Kiri Gaeshi)
Sute Mi
Santo Tonko Gata
Migi Kata Ude Tonso Gata "Right single-arm escape form"
Hidari Kata Ude Tonso Gata "Left single-arm escape form"
Migi Te Kubisuji Tonso Gata "Right hand nape escape form"
Hidari Te Kubisuji Tonso Gata "Left hand nape escape form"
Ate Komi Tonso Gata "Striking-In escape form"
Kote Uchi Tonso Gata "Forearm strike escape form"
Migi Uchi Tonso Gata "Right strike escape form"
Sayu Kumogakure no Kata "Left-Right cloud hiding form"
Kosei Kirigakure no Kata "Offensive mist hiding form"
Happo Kirigakure no Kata

Ninja Bikenjutsu
Kamae
Ichi no kamae
Seigan no kamae
Chudan no kamae
Gedan no kamae
Tosui no kamae
Hasso no kamae
Daijodan no kamae
Kasumi no kamae
Totoku Hyoshi
Kata
Hiryu no Ken "Flying Dragon Sword"
Kasumi no Ken "Mist Sword"
Muso no Ken / Ura Nami "No Thought Sword Posture" / "Inlet Waves"
Dakai no Ken "Striking and Felling Sword"
Issen Ken "One Flash Sword"
Raiko no Ken "Thunder Light Sword"
Itto Nage / Itto ryu dan "One Sword Throw"
Itto Giri
Kiri Kaeshi
Sute mi
Metsubushi
Kage no itto
Ninja iai / Shinobi iai
Te no uchi / Katate Nuki (Single hand draw)
Sageo gata sono ichi
Sageo gata sono ni
Tai wari itto (itto ryu dan)
Kage no Itto (hidden draw)
Shinobi iai

SANPO HIDEN GATA


Senban shuriken
Shuko
Shindake
GOTON NO JUTSU
ONGYO JUTSU

TOGAKURE RYU DENSHO

The postures of Togakure Ryu.

This is a more pushed back version of Gyokko Ryu


ichimonji no kamae.

45-degree angle (stay close to the opponent) or side to


side for blocks and attacks.

This kamae was for throwing Bo shuriken at the


opponent, amongst other uses. Also known as Doko No Kamae.

This kamae is for using metsubishi (blinding powder).

This kamae is for throwing senban shuriken at opponents and others.

Note- Shuko are used with these techniques.

Attacker is in daijodan and attacks.

Step to a 45-degree angle forward with front leg to the


outside of the opponent..

The back leg then places the knee down, (this may not
always be the case) make sure you protect against the attackers knee, also that you are
close enough to block the sword (for a cut) if need be.

Spring up and jump toward the attacker.

Front double kick with both feet on the opponent.

Land and guard.

The opponent falls.

You can change this to the inside of the opponent.

In this version the knee does not touch the ground, the
object is to be low, then spring high.

This is very important to use the arm and shoulder to


block for incoming cuts if need be.

Attacker in daijodan.

Go to the outside in a 45-degree angle, bringing the rear


foot forward (could use yoko aruki- cross step) on this technique.

Left knee goes down and a right fudoken, shinkenken or


palm strike with the shuko.

Then after striking use the shuko, one on each of the


opponents feet.

Then roll away, never taking your eyes off the opponent.

Roll into a modified ichi no kamae.

Now, the other side.

Note: that you can use the front foot for stepping and the
rear can go down on the knee.

Tsuki or shuko strike to the opponent.

Still strike the opponent with the shuko.

10

Then roll behind the opponent.

11

45-degree step forward to the outside.

Then protect with the lead hand (guarding the sword,


weapon) the rear hand can perform an urashuto to the temple or neck. To cause as much
damage as possible use the shuko against the neck or temple.

Note- the shuko hand guarding the weapon, actually can


attack the back of the opponents hand or wrist, this will stop the opponent from cutting,
grabbing the opponent here will also cause much pain.
12

When using the shuko on the inside, perform an


omoteshuto and use the metal band at the base of the hand to hit the temple or neck. The
claws can be used if needed. Note- the hands are switched to which is guarding or
protecting.

13

The hands can be switched here to use the shuko if


needed.

An omoteshuto can be used here if desired.

14

From the front.

15

A leap can be used here to close the gap.

16

Step in with the rear leg and catch the sword blade with
the shuko claws, (or under the tsuba, or the tsuka) or opponents hand.

A urashuto can be performed here or a slap across the


face with the shuko and then a urashuto.

17

Then catch the sword tsuba or tsuka, or opponents hand


and take the sword away from the opponent.

Here you can use both hands to catch the sword.

Then perform an urashuto or palm strike with the shuko.

Take the weapon away.

18

Same technique, but use an elbow to hit to the face when


coming over to control the sword.

A kick can be used to get the opponent to loosen up.

19

When grabbing the sword, place the tsuka under the


armpit and guide the blade with the other hand.

Shuto can be used or Ura palm strike.

20

Used the caught sword to cut the opponent.

21

Attacker performs a Tsuki. Defender in Hira Kamae.

Evade to the outside by 2 ways, stepping at 45-degree


angle forward or leaning to one side.

Perform a geri to lift the sword.

Perform a Tsuki or palm shuko strike to the ribs.

22

From the front view.

23

24

When holding a sword wearing shuko use the shuko to


hold the sword, do not use the fingers, the strength is not enough.

Go down on the knee with the rear leg.

25

Cut from left to right, from the opponents hip to the


shoulder.

This is a Gyaku hasso giri like cut.

26

27

This technique is used hide on top of walls and


buildings.

28

29

You can attack with other weapons other than the


geri, the kick is just an example.

30

Then after attacking use the wall to disappear.

31

This was used in ancient times to escape and rain down


shuriken on the opponents that are chasing you.

32

33

34

Get in between the attackers and then use Yoko-Nagare


to evade the strike so the attacker hits the other attacker; note- metsubishi is used to blind
one attacker.

Here the metsubishi is thrown in one attackers face.

35

36

37

This technique is used to blind multiple attackers with


metsubishi and escape.

38

39

When being followed use this technique to break up your


shape at night and escape.

Forward flip here.

40

Yoko-Aruki away from the opponents.

41

An Oten (cartwheel) is used to get away from the


opponent quickly, also to break up the shape at night.

Again, Yoko-Aruki away from the opponent.

42

43

Use the shuko to climb a tree quickly to escape from


opponents.

44

45

This technique is used when you are hurt and is a last


resort to throw the sword at the attacker if needed.

46

Under hand throw.

Overhand throw.

47

48

This technique is used for throwing senban shuriken at


the opponent. This is a modified tonso no kamae.

49

50

In this technique you perform a Tsuki toward the


opponent but then quickly use that as a fake to perform a hasso like cut against the
opponent, the timing has to be just right.

51

52

53

54

55

This technique is used to attack the weakest opponent in


the group but making the opponents believe that you are attacking the strongest, or the
leader and then escaping.

56

57

Shuko are used with these techniques.

Uke uses his right hand to grab Toris right wrist.

Tori and uke both go into Hachimonji no kamae.

58

Uke pulls tori backwards three times in a shuffle step, on


the second step tori takes hold of ukes wrist.

On the third step tori does TakeOri lifting up the arm and
kicks uke in the groin or stomach with the right foot.

The Tori turns under the arm anti-clockwise.

Then tori throws uke to the ground by the wrist with


Katate Nage.

59

Then Tori scatters Metsubushi into ukes face.

Tori then escapes using do ton, Goton nojutsu.

60

61

Uke grabs toris left wrist with his right hand.

Both go into Hachimonji no kamae.

Uke pulls tori for 3 steps, on the second step, tori moves
his hand to hold ukes wrist. On the third step tori lifts ukes grabbing hand up in TakeOri.

62

Tori grabs ukes right shoulder with his right hand. Tori
drops the left hip (bend the left knee), and kicks to the groin or stomach with his right
foot.

Tori stepping straight back, drops to his right knee,


bringing uke with him.

63

Tori then scatters metsubushi and escapes tobi-noku


(jumping back) then drops to the earth to hide.

64

65

Note: this is a variation with dropping to the left knee


instead of the right.

66

Same technique as above but Uke grabs toris right hand


with his left.

67

68

Note: you can Geri (kick) the ukes leg when throwing to
put more emphasis on the throw.

69

70

Uke grabs toris right hand with his left, Hachimonji no


kamae.

TakeOri with right hand, left hand grabs ukes left


shoulder, geri (kick) with right leg to groin or stomach.

Then pull uke to the left by going down on the right


knee.

71

Then use metsubushi on uke and then escape.

72

Note: Tori can use his thigh to hold ukes arm locked
while preparing metsubushi.

73

74

Uke is behind tori and grabs the back of toris collar


(right side) with the right hand.

Uke pulls tori back with three steps, on the second step
tori grabs ukes right hand with his right.

On the third step tori drops his body weight and turns
to the left and applies Gyaku Te Dori (similar to ura Gyaku) and strikes uke in Suigetsu
(stomach or chest) with a left ShukiKen (elbow strike). The left hand then takes hold of
the ukes bicep and the right hand lifts ukes right hand from the collar.

75

With a rolling motion of the left hand (ura Gyaku) tori


throws uke with Katate Nage.

Tori then scatters metsubushi and escapes with Goton.

76

77

78

This is the same technique as before but the uke


grabs the toris left side collar with his left hand.

Grab ukes left hand with your left hand.

A right ShukiKen to ribs or stomach.

79

Grab ukes bicep with your right hand.

Throw the uke.

Scatter metsubushi at uke.

80

81

82

Uke has a katana in daijodan and cuts with Jodan


Kiri. Tori is in Hachimonji no kamae and lowers his hips.

As the sword comes down, tori rushes in under the


sword (or to the left) and strikes with a boshiken to Suigetsu.

83

Then tori leaps back (could leap to the right) to create


space, could use ukemi.

Use Metsubushi and Goton to escape.

84

85

Uke is in daijodan and cuts with Jodan Kiri. Tori is in


Hachimonji no kamae and moves to the left.

And strikes down with a right Shuto to ukes right


hand (wrist), the uke drops the sword.

86

Then tori turns hips to the right (or left in the


picture) and strikes with the left hand (or right hand) with Shikan Ken to butsumetsu (tori
can go down on one knee if needed)

Tori then scatters Metsubushi and escapes with


Goton.

87

88

89

Tori is in Hachimonji or Happogakure no kamae.

Uke has a katana in Seigan no kamae and strikes with


a Chudan Tsuki. Tori shifts to the right and brings the left hand down and grabs the
handle of the sword. The right hand follows and performs a Shuto to the ukes left
forearm.

Tori pulls the katana away from uke, Tori then jumps
backwards (if needed).

90

Tori then scatters metsubushi in ukes face and


escapes using Goton.

91

92

Two ukes face tori in daijodan.

Tori is in front with metsubushi in each hand in


Happogakure no kamae. As the ukes prepare to move tori drops his hips opens kamae and
steps back three steps. Ukes follow tori to attack as they move forwards to attack.

Tori then drops his hands to his hips and crushes


metsubushi while raising them and throws the metsubushi in the ukes faces.

93

As Tori throws the metsubishi, tori drops low and


passes between the ukes striking them both with boshiken.

94

Tori then uses ukemi and escapes using Goton.

95

96

Four uke in front of tori with katana in Seigan.

Tori assumes Tonso no kamae and acts to throw


teppan (shuriken) and the ukes so that they flinch.

97

Then when the ukes go to move toward Tori, scatter


metsubushi in all directions to develop a screen. Then throw shuriken at the startled uke
and escape through them with ukemi/kaiten while the ukes are confused.

Escape with Goton.

98

99

When tori is surrounded by three uke in front and


two behind him.

Tori moves forward and throws shuriken to the front.

The uke at the rear try to attack, so Tori throws


metsubushi to the rear into the (kukan) empty space.

100

Tori then drops to one knee and throws shuriken in


all directions. Tori then leaps into the empty space that is created using ukemi and then
uses Goton.

101

102

The sword points at the eyes of the opponent.

103

104

This kamae is for leading the opponent in, so they will


attack.

105

The sword was used as a mirror to blind the opponent in


daytime if facing the sun.

106

This kamae is for blocking shuriken and other


projectiles.

107

Standing in ichi no kamae while opponent is in Seigan


Using the blade to push the toris katana in a counter-clockwise manner or a clockwise
manner to open the opponent up and then strike.

108

109

From the front.

110

111

112

113

114

115

Standing in ichi no kamae while opponent is in daijodan


no kamae.

Opponent attacks.

Using the back of the blade, block the attack back


toward the rear on either the right or left side.

116

Then attack by cutting down.

117

118

119

120

121

Standing in Gedan no kamae while opponent is in Seigan


no kamae.

Attack with a Tsuki.

Then when the opponent blocks.

Attack with a cut to do, stepping past the opponent.

122

Or step across using Yoko aruki and cut to the neck.

123

124

Or using Yoko aruki again, attack to the forehead.

125

126

127

Standing in Gedan no kamae while opponent is in Seigan


no kamae.

Catch the blade lightly and quickly step around to the


opponents back.

Then attack.

128

You can use a light tapping or guiding to the opponents


blade if needed.

129

130

131

132

133

Push on the opponents blade and then turn the blade


over and hit the opponents blade down and away, then step in past the opponents blade
and then cut to the opponents neck or head.

134

135

A quick Tsuki can also be performed, then cut to the


neck.

136

137

138

139

Using the power of hasso perform rapid cuts to the


opponent to eventually wear him down and then perform killing strikes.

140

141

142

143

144

145

146

147

148

149

150

151

This technique is used when you are hurt and is a last


resort to throw the sword at the attacker if needed.

152

153

The throw can be underhand or over handed.

Then use shuriken to finish off the opponent.

154

The throw can be under-hand or over-hand.

155

Then use shuriken to finish off the opponent.

156

Standing in Seigan no kamae while opponent is in


Daijodan no kamae.

Opponent attacks.

Step to the side (45 degree) or go down on one knee


while leaning to one side.

Use a Hasso Gyaku type cut to hit the opponents


stomach and up into the opponents rib cage.

157

Then use a Tsuki to attack the opponent opened flank.

158

159

You can also attack the neck of the opponent with the
Tsuki.

160

161

162

163

164

165

This technique is used to attack the weakest opponent in


the group but making the opponents believe that you are attacking the strongest, or the
leader and then escaping.

166

167

168

169

170

171

This technique is for using metsubushi on the opponent.

When the opponent attacks, instantly use the metsubushi


to blind the opponent.

172

Then fast draw the shinobi-biken and attack.

173

Once again, right when the opponent attacks use the


metsubushi.

174

Then attack from a safe area.

175

176

This is used when you are drawing the shinobi-biken


from behind the back.

177

178

179

180

181

182

183

184

When fast drawing a shinobi-biken the blade is about a


foot shorter than a normal katana but the saya is the same length of a normal katana.

This gives the opponent the false feeling that it will take
you just as long to draw your sword. When in actuality the time is much shorter, giving
you the advantage.

Attack the opponents Kote (wrist, forearm) to end the


confrontation.

185

186

187

188

When the opponent attacks step inside his attack and


draw the sword and let the opponent cut himself on the blade.

189

Then use the sword to control the opponent.

190

This time use the right hand instead of the left when
drawing the sword to cut the opponent.

191

Use the tsuka to block the attack by guiding it.

Attack using the tsuka, some shinobi-biken had a tsuka


that could come off like a saya with a hidden blade on the end to strike the opponent
with. The hidden tsuka bladed sword was also used against opponents that tried to draw
your sword in a confrontation and would be surprised and defeated by the hidden blade.

192

Just walk into the attacker here, using the tsuka as a


weapon.

193

Then use the tsuka (and the sword and saya) to hold the
opponent in place.

194

Sage-0 Sono ichi is using the Sageo on the saya as a


weapon and also used as a major distraction to your opponent. Here a metsubushi egg is
tied to the Sageo to distract the opponent so the sword can be used to finish off the
opponent.

195

196

197

198

199

200

Sageo Sono Ni is for using the saya as a weapon or a


distraction for an opponent. In this case two opponents, one in front and one in back.

After dispatching the first opponent in front, the other


comes to attack.

201

Throw the saya at the opponent and then close the


distance and strike the opponent.

202

Sometimes a leap is used to cover more distance to


attack the opponent.

203

204

205

206

Using the sword to throw the opponent while cutting


him.

207

208

After Tsuki the opponent, use your body to throw him.

209

210

Here you hold the blade and use you body to control the
opponent and throw him down.

211

212

213

SANPO HIDEN GATA


The Three Treasures.
Senban shuriken- throwing stars, for throwing use Hachimonji no kamae or Tonso no
kamae.
Shuko- the hand claws of the shinobi no mono, knowing the Budo techniques of Gyokko
ryu and Koto ryu will help with attacks using the attacks with the claws and metal bands
Shindake- the ninja snorkel tube, used to breathe underwater, as a weapon (hanbo) and as
a blowgun using darts laced with poison.

ONGYO JUTSU
Disappearing Techniques
A. Goton Santon no Ho (The 30 methods)
The highest set of techniques in Ninpo are the ways of concealing and disappearance
called Onshin Tongyo no Jutsu or Ongyo Jutsu. If you can do these techniques you can
make the impossible the possible. Their essence is the Goton no Ho which has elements
of wood, fire, earth, metal and water. These 5 escape techniques are called the Omote
Goton no Ho and the Ura Goton no Ho. The Ura Goton no Ho are the following using a
person, bird, animal, Insect and fish. Together the Omote and the Ura are called Jutton.
Tenton is the collective name given to the following ten ways of disappearing:
1. Sun.
2. Moon.
3. A star.
4. A cloud.
5. Fog.
6. Thunder.
7. Lighting.
8. Wind.
9. Rain.
10. Snow.

Chiton:
1. Wood.
2. Grass.
3. Fire.
4. Smoke.
5. Earth.
6. House.
7. Metal.
8. Stone.
9. Water.
10. Boiling water.

Jinton:
1. Males.
2. Females.
3. Old people.
4. Infants.
5. Nobility.
6. Poor

7.
8.
9.
10.

Birds.
Animals.
Insects
Fish.

B.

Omote Goton no Ho Ten Earth methods of disappearing

1.Mokuton Disappearing using wood and or grass. Using the shadows of trees or grass
during both the day and the night. A distraction such as the use of a piece of string to
move the bush so that the enemy turned his back or placing of ones clothing on a tree to
distract the enemy, allowed one to leave the scene unseen. Of course these techniques
were not only used for disappearing but also for attacking. Climbing a tree with Shuko
and Sokko is one example of Mokuton. Other ways of climbing a tree included using
tools such as Ipponsugi, Kyoketsu shoge and Kaginawa. Throwing water chestnut
caltrops and waxing the wooden floor of a corridor are all part of Mokuton.
2.Katon - The way of disappearing using fire, for example, by gathering dry leaves and
setting them on a fire to distract the enemy and escaping. Light a small explosive with a
portable lighter and throw it to distract. A small explosive can be thrown into a fireplace
or a small portable fireplace with the escape being made while everyone is recovering
from the shock.
The Uchitake, Onibi, Hiya, Higurumaken, Hifukidake, Ozutsu, Kakaezutsu, Sodezutsu,
Nageteppo, Uzumebi and the Kaengusari are all tools of Katon.
In the past fire was both feared and respected by everyone as if it were a God and
therefore the use of Katon was most effective form of escape. Before one can use Katon
it is vital to learn about climatic conditions and ground conditions especially when it
comes to using the wind. Otherwise it can be very dangerous. There are the physical
applications of Katon but there are also the psychological aspects to it. For example
making the enemy so furious that his face becomes red making him unable to judge
things correctly. His body also becomes tense and rigid leaving him unable to use
Taijutsu properly. Sometimes his anger may become so great that he runs the risk of
having a cerebral hemorrhage or an ulcer, which could eventually kill him. Another
example is fabricating a scandal about the enemy so that his honor is tarnished putting
him in a very unpleasant position.
This is also a part of Katon, the following will show why.
If the enemy is imagined to be a pillow and a small piece of red-hot coal is placed in the
center (the fabrication of the scandal) the pillow begins to smoke (the scandal). This
smoke is seen and smelt by everyone around and slowly the whole pillow catches fire
destroying it (the enemy) completely. The Ninja also used natural fires to their own
advantage. Once a Ninjas home often had many calabashes filled with water mainly for
extinguishing fires. However some of these were filled with flammable liquid or poison

water so that in an enemy entered while the house was on fire it could be used against
him.
3.Doton is the way of using earth to disappear. This includes throwing stones or sand at
the enemy, digging a hole with a trowel (Kunai), hiding in a man made rock, setting a
trap so that the unsuspecting enemy falls into it and using the dirt to change the
appearance of the face. The soil is the parent of everything that is born on it. We too are
born on the soil and die on the soil. The seasons change depending on the angle between
the earth and the sun. Between Heaven and humanity is the earth. So earth is the most
vital part of everything. If there were no earth there would be no plants and so no wood
and consequently no fire.
The Japanese expression Doron-Doron when referring to a Ninja is used to indicate an
actual appearance or disappearance of the Ninja. It comes from theatrical dramas such as
Kabuki.
The appearance or disappearance of a ghost is indicated by the sound of drums, which is
imitated verbally by Doron-Doron. This is the poplar idea but from the Ninjas point of
view the words Doron and Doron are the same. Doton in Ninpo means the way to
disappear Doron in Kabuki means the time of a disappearance. So from Doton comes all
other techniques.
Even the Ninjas costume has a close relationship with Doton; its red black color makes it
easy to disappear into the darkness and the earth. Before the Second World War, the
Japanese Imperial Army wore dark brown uniforms and now the armed forces or Europe
and the United States use a mixture of dark brown and green for most everything
including tanks.
These are the colors of the earth and wood. The Octopus and the Squid are also very
skillful at using black ink to perform a vanishing act. Even the skunk uses smell to its
advantage.
The phrase As silent as a forest as steadfast as a mountain is also about Doton.
4.Kinton is the way of using metal tools to produce reflections or noise. These are good
diversionary actions. Using a blade or mirror to reflect the sun into the enemies eyes as a
form of Metsubushi or for signaling, suddenly throwing a small flame from a portable
hand heater to startle the enemy. Reflecting moonlight into the eyes with the sword,
banging on a gong, bell or drum or shouting to startle an enemy is all part of Kinton.
Even throwing a stone into a pond making the enemys mind focus in that direction so
that you can enter from a different direction is a part of this.
The following is a famous Haiku: An old temple pond, a frog jumping, the noise of the
water from this I can understand perfectly well that Basho was a secret Ninja.

The psychological Aspects are as follows; if an enemy wants money, giving it to him can
open many doors. The Japanese word for money and gold is Kin, hence Kinton. So when
large quantities of money are involved everything is possible. If a person wants money,
status and honor the Ninja can already control him. Money has a direct influence on
status, the honor and also women. So if one wishes to be a true Ninja, one must be very
careful not to be blinded by gold.
I am not saying however that one should think about it. We are presently in a period in
which we need to have the following five powers well balanced: Spiritual power,
Physical power, Technical power, Wisdom power and momentary or economic power. A
true Ninja never drowns in the sea of gold, yet knows how to produce it well.
A Ninja is also very skillful at using the Golden Spheres. Bed techniques are used by the
Ninja as a background technique, while the Kunoichi uses them as foreground
techniques.
In Gyokko Ryu Ninpo, using a pair of iron balls to make the fingers strong and agile was
a basic everyday technique. Sometimes they were used as a weapon. If a person is skillful
with these balls he is also skillful at manipulating the enemy as if he were a ball.
Matahari was therefore very skillful at using Kinton.
5.Suiton Is the way of disappearing using water. Floating on it, swimming over or
under it, using special boats and rafts, using water spider (Mizugumo) or water pistols
(Mizuteppo) or even cutting through the banks of a river to flood a village are all part of
Suiton.
If a person likes alcohol, giving him an excessive amount is also part of thins. If a person
has a great weakness for woman, drowning him with them is also a part. This also holds
for material things, a Ninja must be very skillful in using money, alcohol, women and any
material thing. He must be able to determine whether the drinks offered to him have been
poisoned.
Using the five senses as well as the sixth sense is the only way of doing these things, but
be certain tools may also be used. Gold placed in a drink laced with poison changes color.
A coral bead put near poison breaks up. A Ninja never allows himself to drown in
anything whether it be women or alcohol, he must swim freely and easily.
The next section I would like to talk about is Ongyo-Jutsu. This is special disappearing
techniques and they are of the highest level of strategy the ninja has in its arsenal. To be
able to conceal yourself in the face of danger and survive from your enemies attack is
called Onshin Tongyo (Tonko) Jutsu.
One of the methods studied was the Ten Chi Jin Santon no Ho. Together created 30 ways
to blend and disappear.

The first set of ten is called Tenton and it uses the heavens: using the sun, moon, a star, a
cloud, the fog, thunder, lightning, wind, rain, and snow.
The next set is called Chiton and it uses the elements of the earth. Using wood, grass,
fire, smoke, earth, house, metal, stone, water, and boiling water.
The third and final set is Jinton; this is the use of living objects. Using males, females, old
people, infants, the nobility, the poor, birds, animals, insects, and fish.
You must study and be aware of all 30 opportunities. To even master only one will give
you incredible ability to escape.
Here are two examples from each section.
Tenton: As the clouds move across the sky shadows will drift, images on the ground will
move and you must move with them. From the shifting of the clouds the light in the
night sky will darken and give you opportunity to move freely, but you must also use the
light of the moon or sun to see your enemies movements as well.
Chiton: The trees make good resting places to sleep, see over distances, once you are
above ten feet the average eye will not see you. You must blend and adapt to the form
and shape of the tree, move with the wind and allow the branches to move freely, climb
when the wind blows be still when it does not. Everyone is afraid of fire. Fire will make
everything run away, and attract attention. In the night the bright flames will destroy
vision and give you the time you need to escape.
Jinton: Old people attract very little attention and can move freely because they are no
major threat. They are also a great source for local information. If a flock of birds
suddenly fly's away this could mean people are close to you and this will give you the
direction and distance from your location. Remember this can also work against you. At
night, use the insects for the same reasons. The ten chi jin is a very good way to start your
shinobi training but you must spend as much time getting familiar with each one of the
thirty skills to be able to use and predict your outcome.
The next section is known as the ten earth methods of disappearing. Called the Omote
and Ura Goton no Ho.
The first in this section is Mokuton no Jutsu. This is the strategy of hiding oneself in the
bushes or behind trees, and then either attacking or escaping, using wood element
techniques as concealment.
Some of the principles behind Mokuton no Jutsu is:
Using the contrast between sunshine and the shade created by brush or grasslands.
Wearing branches, leaves, and grasses on the body as natural camouflage. Waxing

wooden floors, and using string tied to branches to capture the enemies attention to
mislead them. Also to attack from the trees was part of this section.

Katon No Jutsu is the second method. This is done by using fire to disappear. By creating
natural fires from the combustion of various substances, including powders, grasses, oils,
small explosives, one way the ninja made black powder was the combination of
paulownia wood ash and sulfur. Fire is very powerful, and can be used many ways. One
way is to set the grasses on fire around your enemy to lead them into a trap. Using fire as
a shock method to frighten the enemy and make them choose rash decisions. To throw
fire directly on the enemy or into a fire place or stove would stop people in their tracks
and the only thought was to put the fire out. This is when you would attack. When you
use fire are careful of the weather conditions such as rain and wind. You can also make
someone be on fire without flame. You make them incredibly mad, and the term red-hot
is used this will put smoke in the mind and they will have a difficult time seeing
correctly.

Doton Jutsu is the third method. This is using earth element techniques. By using the
terrain and its features as a tactical advantage, you can make attacks from uneven terrain;
throw mud and stones instead of shurikens. The ninja would often throw stones in the
opposite direction to cover the movement and true direction. Digging holes to hide or
survive in a fire, or to dig tunnels to escape. The use of the earth was used to build traps
from trees to mountains. Boulders sent down a mountain, large trees rolling down hill to
destroy many opponents in seconds this is Doton Jutsu. Any way to use the earth and its
features fit into this topic.

Kinton no Jutsu is the forth method. This is the use of metal elements. The use of
polished blades or hand held mirrors to reflect the light of the sun into the eyes to blind
was used to attack and or escape. Metal tools used to make noise or cast reflection are
good diversionary techniques. Even ponds and lakes can be used to make illusions. To
throw a stone into the water to distract the attention or to skip a rock along the water to
make it look you have been this way, are part of kinton jutsu.

Suiton no jutsu is the last of the omote section. This is the use of water. Floating on it,
swimming in it, or the use of special boats. To destroy a dam to flood an entire village,
using the tides to your advantage. Water cannons or pistols to shoot poison onto your
enemy. The skill of underwater combat, and holding your breath. The use of a bamboo
snorkel. The snorkel should be 1 1/2 foot long, and you should stay under for no more
then 12 hours. Underwater combat should be from very close distances quick tight strikes
and the attack should be from below attacking up. Water is very effective when you need
to cover your tracks.

The next section is called the Ura Goton no Ho.


The first one is called Jinton no Jutsu. This is using one or more people to disappear.
This is acting and has many levels to study.
Danton masculine characteristics.
Joton Feminine Characteristics.
Roton Traits of elderly people.
Yoton traits of the young or infant.
Kiton mannerisms of the aristocracy.
Senton mannerisms of the poor or lower class.
The use of make up and Henso-jutsu are very important here.

Kinton no Jutsu is the next section. This is the use of birds to disappear. There are four
classes of animals the ninja must study.
Kinton - the study of birds and flying animals.
There are two methods to studying animals. The first is to domesticate animals to do
deeds for you humans could not do as well. Or you should study animals to learn things
about nature.
For example, fish are impossible to domesticate but you can study how they move
underwater and become a better swimmer because of it. In the past homing pigeons
where used to communicate. Chickens were used to make noise, falcons were used to
hunt food for you, and ducks were used around water to create attention and cover your
movement.
Juton no Jutsu is the way to use animals to escape. The study of all animals that may
stand in your way, like guard dogs. There are ways to deal with this. One way is to feed
the dog over time, if need be you may then poison the dog easily. Placing a dog in heat of
the opposite sex near the dog will keep their attention. Letting a cat out in front of the
dog, then disappear and the dog will chase the cat. A small bowl of antifreeze will take
care of most dogs. Letting go of a small rat will cause panic and attention. You must also
know the weak points of many animals such as a cows and horses nose; a cat is the back
of the neck, pigs front feet. And all animals including humans have a fear of fire.
Chuton no Jutsu is the method of using disliked animals. Snakes and toads, and spiders.
This is done to surprise your enemy, and take their mind off of you and onto a little
creature. Let a bat loose in someone's home and they will run and scream in fear, a
poisonous spider in someone's bed, all have the same effect. Use this aspect to make
motion and distraction, this will give you the location of everyone, and their mental state
is on edge but consumed. Remember as you create motion your shinobi skills must be

good and you must be ready to fight or escape if seen. Use this to leave false information,
or to find information.
Gyoton no Jutsu is the method of using fish or aquatic animals. If you dress as a
fisherman, you can hide a tanto in the fish and secret messages as well without causing
attention to yourself. The poisons of some fish are deadly and easy to get. You must learn
how to move in the water and use all forms of water; ice, fog, rain, snow, boats, rafts,
scuba gear, and sea navigation.
Here are five more principles that are secret. These have no name are Kuden. Usually
never written down, and only passed from teacher to student by word of mouth.
Nitton no Jutsu is the use of the sun. When fighting you should keep the sun to your back
and the sun in the eyes of the enemy. If you are forced into the sun you must have a
mirror or a polished blade to use the sun against him. Use the sun to drop down as you
attack from above. Use the sun's reflection off of water to blind and or escape.
Getton no Jutsu is the use of the moon. Use the moon to cover your movements. Timing
is very important and you may only have a few chances in the sky. As the moon lights up
the sky use this to see. When the moon is covered by clouds use this to move.
Seiton no Jutsu is the use of Astronomy. This information is used for Navigation. Well
known stars like the Big Dipper and the North Star, Venus, and Jupiter can determine
direction. Use these landmarks for attacking and rally points for all escapes.
Unton no Jutsu is the use of the clouds. You should always use cloudy or inclimate
weather to your advantage. Clouds cast shadows and can conceal your movement and
effect light. You need to study the wind and the land to predict the movement of light.
Clouds are very important to study.
Muton no Jutsu is the use of fog. Fog is unlike clouds and has a life spanned and
determined path. Fog prevents people from seeing clearly, and changes the appearance of
objects. Temperature and climate has a lot to do with the lifespan of fog. The study of
Tenmon and Chimon will help you with this list.

GOTON NO JUTSU TECHNIQUES


SUI TON NO JUTSU
KAKU SHU KOSHIKI EIHO
Tachi Oyogi
Nuki Te
Aori Hira Noshi
Ho Baku Oyogi
Doku Mizu
Gi Hen Kaku Ran No Ho
Mizu Gumo
Sui Chu ki
KIN TON NO JUTSU
Kodama No Ho
Hikari No Ho (Aizu)
Hikari No Ho
In Yo No Ho
MOKUTON NO JUTSU
Gi So No Ho
Uzura Gakure No Ho
Metsubushi No Ho
Gi Hen Mokuton No Ho
To Bo Kugihon No Ho
DO TON NO JUTSU
Metsubushi No Ho
Mogura No Ho
Rak-ka No Ho
In Ton No Ho
Do Ton No Jutsu (Seki Tori)
Seki To No Jutsu
KA TON NO JUTSU
Hi Zeme No Ho
Net-to Zeme No Ho
En Maku Kaku Ran No Ho
Oni Bi No Ho
Soku To Ki No Ho

GOTON NO JUTSU
Methods of fighting, concealment, infiltration and escape using the five elements of
Water, Metal, Wood, Earth and Fire.
SUI TON NO JUTSU (WATER)
Using water to escape, deceive, infiltrate and attack.
KAKU SHU KOSHIKI EIHOSwimming methods to move quickly, silently and with weapons.
Tachi OyogiUsing one arm for balance and swimming and the other arm for holding weapons. The
legs push out or use a circular motion for movement.

Right leg moves in circular motion.

Left leg moves in a pushing motion.

One hand holds the weapon and the other paddles


and pushes down.
Nuki Te-

Using a breaststroke type style, frog kick technique while arms used to crawl. The
weapon is either on the back or in the mouth. The legs use the frog kick technique to
cause movement.

Aori Hira NoshiThis technique was a favorite of the Togakure ryu. It is used for quick silent swimming.
The front arm performs quick strokes below your body; the rear arm makes large strokes
along the line of the body. The rear leg kicks water with the top of the foot (instep), the
front leg kicks water with the sole of the foot like the breaststroke. Both legs move
together in a scissor type action.

Ho Baku OyogiThis is a last resort swimming method for when you are bound. Float face and chest up,
move like a fish to swim using your body in tandem with your legs to move backwards.
When reaching the shore, slide your back up the shore to get up on land.

Doku Mizu (water cannon)The water cannon was used with applying water based poisons to opponents. Could also
be used to administer low-grade acids to harm the enemy. The cannon is made with 2
parts made both from bamboo. 1. One skinny bamboo piece with cloth or plastic wrapped
on one end. (Plunger). 2. Thick large bamboo with a hollow open end, the opposite end
has a small hole (use cork material to stop it up).

Gi Hen Kaku Ran No HoThis technique is a method of evasion. When pursued by the enemy, throw a big rock,
large stone or tree branch into the water to make the enemy think that you jumped into
the water and then hide in the opposite direction to escape.

Mizu Gumo (floatation device/water spider)One of the many floatation devices used, can be made with a truck inner tube weaved
with rope and leather. Place legs through and sit in the middle.
Paddle is made of a large bamboo tube; with bamboo strips on one end that fan out for
the paddle and the other end has a weighted chain at the end. Also used is the Kama yari
to push off the shore and the hook on to trees and land. Use the legs like a swimming bird
to keep balance in the water.

Sui Chu ki1. Using a bamboo tube to breathe underwater


2. Horn for signaling and distraction
3. A weapon as a last resort
To stay underwater use one hand to hold onto reeds and shore material. The other hand
holds the breathing tube and your nose. Breathe slowly and deeply. For insect protection
have a fine mesh over the tubes breathing hole.

KIN TON NO JUTSU (METAL, SOUND AND LIGHT)


Using the metal, sound and light from metallic objects to attack, infiltrate or escape.
Kodama No HoUsing sounds by hitting metal objects to distract the enemy. Also to be used to escape,
infiltrate, attack (attacks are made swiftly) or signaling.

Hikari No Ho (Aizu)-

To reflect light with a mirror as a signal by prearranged code. Some mirrors can be made
from metal to be used as a weapon (hand held or thrown as a shuriken).
For signaling- you can alter the angle or use your hand to cover the mirror when it is
reflecting light to signal.

Hikari No Ho (metsubushi)A method of using reflected light from a sword or a mirror toward the enemy to blind
him and then strike him down.

In Yo No HoThis is the art of taking advantage of the light and shade to attack an enemy (whether in
daytime or night time).
Night example- Hiding in the darkness as an enemy passes through a brightly lit area
(the enemies eyes will not have adjusted to the darkness quick enough). The shadow that
the light causes can be used to hide in and attack the enemy suddenly.
Day example- Hiding in the shadow of a large tree on a bright sunny day and attacking
the opponent as he passes the area.

10

MOKUTON NO JUTSU (WOOD)


Using trees and vegetation for escape, infiltrating, or creating confusion to make an
attack.
Gi So No HoThe technique of using the local plant life to conceal yourself within the surroundings.
A. Break up the line of the shoulders (this makes you harder to see by the enemy).
B. Use a cord wrapped around your chest and back to harness the branches and
vegetation. Cords can be used around the midsection and legs to increase the
camouflage.
C. Use the local foliage for the best concealment.
D. Cover the line of the shoulders and most of the face.
E. Using an outer mesh shirt and pants will work great, or use the modern day
special operations ghille suit.

11

Uzura Gakure No HoUsed when camouflaged and attacking when an enemy draws near (use a quick leaping
strike with no kiai.)

Metsubushi No HoUsing a thorn bush branch, bamboo, or a tree branch attack the enemys eyes with it, then
while he is distracted, attack or escape. Conceal it at first then surprise the opponent.

12

Gi Hen Mokuton No HoUsing a Kamayari to distract an enemy by shaking nearby tree branches or bushes to
make the enemy think that is where your location is. Shake the branches vigorously then
escape quickly. This technique is to draw the enemy away. This technique can also be
used with string or twine to move the branches.

13

To Bo Kugihon No HoThis is a technique of using wood or branches to strike and attack the enemy, causing
distraction for escape, or infiltration.

DO TON NO JUTSU (EARTH)


Using the ground surface or soil to escape, infiltrate or attack.
Metsubushi No HoUsing dirt, gravel, or stones to blind the enemy.
A. Use tabi or shoes to kick dirt into the opponents eyes
B. Grab a handful and throw into the opponents eyes.
Note- After throwing the metsubushi, escape or attack. Make sure of the earth type and
wind direction before using this technique.

14

Mogura No HoThe technique of hiding underground, in a pit or hole and attacking the enemy swiftly
with a spear or sword when the enemy passes by overhead. (This technique can be used
to attack an enemy in the attic of your house or those walking over a bridge.)

15

Rak-ka No HoThis is a technique of luring the enemy into a pit and then attacking (using a spear, yari,
kamayari, sword or a ranged weapon). Make sure to use give and take to lure the enemy
into the pit. (The pit can be lined with stakes with poison or water with snakes, etc).

16

In Ton No HoA technique of hiding in a hole or hollow (tree trunk or tunnel, or such) after cutting
down an enemy. (Note- make sure that you hide your tracks or have a distraction set up, a
previous set of tracks away from your location, a piece of clothing to lead the enemies
away in the opposite direction.

17

Do Ton No Jutsu (Seki Tori)


Using snow and ice for escape, infiltration or attack.
Seki To No JutsuUsing a small snow hut or hole to lay in wait for attack or escape. Using large icicles as
daggers to attack with leaving no visible or traceable weapon. Icicles can be poisoned by
coating the ice with a fine mist (water soluble poisons or non soluble) or actively coating
it.

18

KA TON NO JUTSU (FIRE)


Using fire, smoke, heat and boiling water for escape, infiltration or attack.
Hi Zeme No HoTechnique of drawing an enemy into a trap and surround the enemy with fire then cut the
enemy down one by as they try to break through to escape. Timing and the direction of
the wind are very important.
Note- to escape fire circle trapsA. Cut the grass down by cutting from the base of the grass, the earth or sod.
B. Dig into the earth and cover yourself with dirt to hide from the enemy and flames.

19

Net-to Zeme No HoTechnique of throwing boiling water into the enemys eyes from an unexpected direction.
When the opponent flinches you can attack or escape. Make the use of the best location
and make the attack by surprise.

20

En Maku Kaku Ran No HoTechnique of using water on fire to cause a smoke screen. Using smoke creation devices
to distract the enemy.

21

Oni Bi No HoThe technique of making torches from clothes soaked in oil on bamboo poles to scare
people away or for distraction.

Soku To Ki No HoTechnique using a metal and ceramic box with a wooden mouthpiece that has metsubushi
and charcoal embers, to attack and blind the enemy by blowing through the box while
wearing an oni mask. This was used to frighten the enemy and give the ninja mystical
devil flame throwing myths. Used to blind the enemy to attack or escape.

22

Receipe for Metsubishi and Neggo teppo


1. Get an egg and hollow it, get the yoke out. This takes two holes one on the bottom and
one on the top. Or one whole and a straw.
2. Put in flour or baby powder, or use a 50/50 split for training purposes.
For combat applicationsBlinding- Use fine cayenne pepper or other ground pepper, metal shavings, wood ash and
baby powder for a four way split mix. Use black colored wax to cover.
Explosive- Use gunpowder, magnesium, flash powder, metal shavings, and saltpeter
(potassium nitrate) mix. Use red or burgundy wax color to signify. Make fuse for
lighting.
Stink- Use ground sulfur 2/3, salt peter powder, magnesium powder and flash powder 1/3
mix.
Use yellow or blue wax color to signify. Make fuse for lighting.
Poison- Use liquid animal poisons and or insect poisons and mix with flour or baby
powder. Let poison powder dry then ground up and put into the egg. Use green wax color
to signify. Throw in the eyes, nose and mouth of the opponent.
Napalm- mix gasoline and dish detergent or mix gasoline and packing Styrofoam peanuts
together. Put contents in the egg and create a long wrapped fuse around the egg (from top
to bottom) so when the egg breaks the lit fuse will ignite the contents. Use red and black
wax to signify.
Smoke- Mix sugar and saltpeter (potassium nitrate), You need a 3:5 ratio of sugar and
saltpeter. Use white and black wax to signify. Make fuse for lighting.
Smoke bomb notes- the more saltpeter, the faster burning, and more powerful burning
bomb you have. To make it you stand a better chance NOT burning down your house if
you didn't just try to melt sugar and KNO3. That poses the greatest risk of ignition. Use 6
oz. KNO3, 3 oz. sugar, 2 oz. Karo syrup and only enough water to help it dissolve. I
cooked for an hour until it was like runny mashed potatoes, and then filled the tube.
There is no need to let it brown at all. This mixture can burn for quite a long time.
3. You can use white rice paste or white wax for training or colored wax for combat
applications to cover the egg to give it a studier structure and to identify.
4. Impression markings can be used on the eggs as well, so in a desperate situation you
need not to visually identify the type held to be used.

The Ninja Exploding Smoke Bomb


It took me years of searching to be able to find a smoke bomb that when struck on the
ground would cause a flash of light and a cloud of smoke. There are a thousand reasons
why these are useful and fun, but the most common reason people search for this, is the
ninja aspect of it. Ninjas used the dirtiest of tactics to realize their desires, including
misdirection and camouflage. When a ninja was in a bad situation, he would through a
ball to the ground, distracting his enemy with a flash of light and a cloud of smoke,
allowing him to escape. There used to be items available called Torpedo that would
cause a great cloud of smoke to emit when struck, now these are next to impossible to
find, and rather dangerous to manufacture. The following is a wonderful alternative that
can be made far more safely, although care must still be taken.

Materials:
3/4-inch metal ball (Steel or chrome preferably)
Scotch tape
Course sand paper
One roll of paper cap gun gaps
4 by 4 square of magicians flash paper
1-teaspoon white or silver flash powder

Magicians flash paper and the flash powder can be found at most magic shops, either
online or locally. I used to get mine from http://www.skylighter.com/ until I learned how
to make it myself. This is a different kind of flash powder than the kind you often read
about on the Internet. It does not have a loud bang.
Only the paper caps for toy guns can be found at almost any toyshop, and often at places
including Wal-Mart.
The 3/4 metal ball could very well be a large marble or ball bearing or other such item.
Chrome seems to be the optimal weight in my experience, but other materials have
worked well! I order mine off the Internet for about $0.50 each. Ive also seen them at
farm supplies stores, eBay and lots of other places.

Preparation:
Take a piece of some course sand paper, and rub it against your metal ball until it
becomes rough. Feel free to ding it up all you wish.
Take your roll of caps, and, with the explosive part out (paper side in), wrap the entire
ball, so that as much of the surface of the ball is covered as possible. Often one will use a
little over half a roll of caps in this process, although this varies with the size of the roll.

Take a small piece of tape, and secure the caps to the ball. I always try
to avoid putting tape over on of the cap heads. The tighter you can wrap the caps on to
the ball, the more efficient your smoke bomb will be.
Now, place the cap-covered ball in the center of your 4 by 4 sheet of flash paper, and
roll the paper into a tube. Fasten the paper in this position with a small piece of tape. It
should now look like a paper tube with a ball in the center.

With this completed, you are ready to add the powder. This is the time to prepare it. If
you are using white flash powder from a magicians shop, you will need to mix the two
bottles together now.
Take 1/2 of a teaspoon of the white or silver flash powder (or the same amount of
colored flash powder if you wish to use one of those recipes) and pour it into one side of
the tube.
Nicely fold the paper down and tape it shut.
Although it can be twisted shut, this is more dangerous as if too much pressure is applied,
it could detonate in your hand. Not good.
Now add 1/2 pf a teaspoon to the other side and repeat the process of folding and taping.
Place your completed ninja smoke bomb in a safe place.

Use:
To fire, simply throw the ball to the ground on a hard surface. The weight of the ball will
cause the cap to explode, thus triggering the flash powder and igniting the flash paper.
The result is a flash of fire and a cloud of smoke.

Warning:
As with all pyrotechnics, if proper care is not taken, serious injury could result. Never
throw directly at another person, and always take great care with the finished product. A
sharp bump could cause ignition. Although safer than any other method Ive yet

discovered, I still take as much care with these as I would with any other pyrotechnic
device. NEVER PUT IN POCKETS OR BACKPACK, ETC. Be responsible and safe.

Trouble shooting:
Do not fear if your first attempt isnt a huge success. There may be a few variables you
need to check out. Once you get them down, you will have them work every time. Here is
a list of things to try.
Ball size and weight:
A ball that is too small or too light may not have enough force to light the cap.
Number of caps:
If you use too many caps, they can hinder lighting process by taking some shock out of
the impact. Try using just enough to cover the ball and slowly work up from there. Less
caps is better, although if you dont have enough, when thrown, nothing will happen.
Amount of powder:
Yes, the most common problem. We all want to put lots of powder in to get more smoke.
The bad part is that too much powder will dampen the impact and it will be a dud. Try
teaspoon in each side, and working up.
using a bit less than

TOGAKURE RYU
SHINOBI STEALTH WALKING
Shinobi-Ashi- Stealth Step
Without making a sound, begin by placing your fourth toe on the ground and
immediately following up with the middle toe, and then lastly the heel.
If using tabi use the tips of the toes then gradually and lastly place the heel down.
Uki-Ashi- Small Step (also known as Ko Ashi)
You walk only on the tips of the toes, your heel never touches the floor. Great for a quick
sneak attack.
Inu-Aruki- Dog Walking
This method is used to creep and crawl through low places on all fours, like a dog. Drop
down to your hands and knees, and then alternately place your hands firmly on the
ground and move forward or backward as needed.
Kitsune-Aruki- Fox Walking
This is a method of walking on all fours. This is a fox like noiseless scamper on only the
toes and the fingertips.
Yoko-Aruki- Sideways Walking
First press your back firmly against the wall. Then, facing the direction you want to go in,
open your arms and legs out as wide as you can. Cross your far leg and arm over your
forward ones and repeat, sliding along like a crab. This allows you to travel further with
fewer steps.
The Yoko aruki movement is as an actual walking method used to quickly move through
narrow spaces. By turning the body parallel to the plane of motion (sideways) the
practitioner can maintain sight in a wide field both in front of ones body and behind. The
footwork is frequently combined with a swinging arm motion to assist in maintaining
balance as well as feeling for obstructions.
Shin-So-Toh-Ho-ArukiThe most silent method of walking, you place the balls of your feet on the back of your
hands and, bent over in that position, walk forward and backward on your hands.
Nuki Ashi- 'Sweeping Step.'
This technique permits the ninja to cross wooden planks or straw matting undetected by
giving him complete control of his body weight. From a low crouching position, the
balance and then the body weight are slowly shifted to the forward leg until it supports
the entire body. The rear leg is then pulled forward and in toward the supporting leg. The
ankles barely brush each other as the moving leg goes forward and out with the toes
pointing slightly inward. With the weight on the stationary leg, the outside edge of the
moving foot can be used as a feeler to probe lightly for any obstacles that might be in the

way. The foot is then eased to the floor, outer edge first. The weight is gently shifted to
this foot, and can be withdrawn quickly if any creaking of the floor is noticed. This
groping foot then becomes the new support foot as the ninja continues forward. With his
hands moving lightly like tentacles, the ninja takes on the appearance an octopus feeling
his way across the ocean floor.
Ryohebi Serpent Moving crawling along the ground on all four limbs, keeping low to
the ground and having one leg always stretched out and the other leg tucked in so you can
spring up to attack or move very quickly.
Karasu-Aruki Crow Walking (side running) taking side steps with the feet without
crossing the feet over like Yoko Aruki
O-Ashi Great Step (similar to Yoko-Aruki, but taller steps. This is used to cross fields
or bodies of water silently). Using Yoko-Aruki but using very tall steps with the tips of
the toes touching the ground first then the heel.

Guidelines for Stealth Walking

1. Maintain balance control by allowing your body weight to sink and be carried by
deeply flexed knees.
2. Remember to breathe along with your movement. Unconsciously holding your breath
can unknowingly produce unneeded muscle tension, and could result in gasping release
of breathe if you are startled or accidentally unbalanced.
3. Stay alert to the entire scene. Do not become so engrossed in watching your feet that
you do not notice other people an element entering the surroundings.
4. Use all joints for movement, emphasizing fluidity through the engagement of the
ankles, knees, and hips for stepping. Avoid the lazy and dangerous habit of stiffening
knees and swinging the entire leg from the hip.
5. Maintain your weight and balance on your grounded leg while you move the other leg
into position to bear the weight. When absolute silence is a must, avoid distributing your
weight over both legs at the same time.
6. If practical, allow your hands to float lightly in front of and beside your torso, one arm
higher and one arm lower, to detect possible obstructions before your committed body
weight encounters them.
7. Pause and hold your position if you feel that you have accidentally caused too much
noise. Listen for signs that you were heard, such as the movement of others or the
immediate silencing of background noise following your slip. Sink a little lower on your
knees to physically relax that could normally jump into your body with alarm. Take a
deep breathe and release it slowly to further relax. Continue your pause for as long as you
feel is necessary to regain composure and allow possible listeners to decide they did not
hear anything after all.
8. Be as patient as possible. If speed of travel is not important, take as much time as you
can. Impatience and the resultant hasty movement that it encourages are the greatest
dangers to the person who must move silently without detection.
9. Keep your movement appropriate to your surroundings. Do not go to greater lengths
than necessary to conceal your movement, while at the same being aware of what others
entering the area may see if they cannot hear. Total silence may not be needed when
moving through wooded or densely populated areas where scattered noise is a natural
part of the environment. Also be aware that low profile crawling or sliding may be the
only way to move silently without being seen in some locations.

SHURIKEN

Mastering the Ninja's Throwing Star


Table of Contents
SECTION I
1. Introduction
2. History of the Shuriken
- Where did it come from?
- Uses (distraction, harassment, signaling and sending messages, setting fires, etc.)
- Myths (poisons vs. rust, killing tool, 'ninja' weapon and the law, etc.)
3. Mastering the Basics
- Types of Shuriken
- "Star" (3-point, 4-point, more points)
- Bo
- Modern equivalents
- Grips
- Hand-held
- For throwing (cutting, sticking, etc.)
- Grip-change maneuver
- Throwing Postures
- Horizontal throw
- Vertical throw

- Understanding distance with the Bo Shuriken

SECTION II
4. Defenses Against Strikes and Kicks
5. Defenses Against Grabbing Attacks
6. Defenses Against Other Weapons
7. Defending Against Someone Throwing a Shuriken at YOU!

Chapter 1
Introduction to World of the Ninja Star!
This may not come as a huge surprise to you, but the number one request that I
get through my classes, seminars, and through my web site is for information
about the study of weapons. And no other weapon, except perhaps the sword,
inspires more mystery and curiosity than the shuriken or Ninja star.
This book is a basic training manual designed to lead you into the foundational
skills for developing mastery with the "throwing star." It is one of many books,
currently available, and yet to come, where I will be sharing my thirty-plus years
of study, training and experience so that you can master these skills and
increase your own level of understanding, proficiency, and of course, safety.
In the following pages and chapters, I'll be discussing not only how to use this
weapon in different situations and against a wide variety of attacks, but also
topics like;
A history of the shuriken and its development.
Myths and realities about the ninja star weapon.
The proper steps for training if you really want to master this powerful weapon.
The different types of shuriken.
More.

Chapter 2
Power in the Palm of Your Hand!
The weapon, commonly called a "ninja star" is properly called a shuriken
(pronounced "shoo-ree-kehn") in the Japanese language. As a weapon, it is not
limited to the Ninja Warriors of the tiny island nation, however.
The history of the throwing star can probably be traced back to the time when
man first picked up a rock or stick and threw it at his enemy or an animal
attacker. Once he realized that items like this from his natural surroundings could
be used as weapons, it wasn't long in the grand scheme of things before he was
creating his own, 'improved,' versions of rocks and sticks - weapons with much
greater capacity to do damage.

A Lesson From History


Atop Togakure mountain (present-day Togakushi), in the ranges northwest of
Nagano, Japan, there is a museum dedicated to the Ninja warriors of old. Every
year I take students to Japan for training with my senior teachers and the
grandmaster of our art.
As a part of this trip, students are also lead on tours and day-trips to places, like
Togakushi, that are significant to the history of our martial lineages.

In this little museum, students can see examples of:


Some of the earliest shuriken prototypes.
Inevitably, they're always surprised to see that, contrary to the heavy,
cumbersome, and overly ornate designs being sold as "martial toys" through
catalogues and in supply houses today, many of the original shuriken of our Ninja
ancestors were nothing more than chiseled stones or sharpen sticks tied to
create star-like patterns.

Dispelling the Myths


This sudden realization brings home the lesson that, for the most part, shuriken
were NOT killing weapons. It's not to say that they could not knock someone out
or puncture the flesh. But, the materials themselves, and the technology for
creating them, were not advanced enough to produce the same items that are
being sold today with the weight and surgical sharpness to cause greater
damage.
Students suddenly realize that many of the myths and legends were just that myths. However, we know that myths and legends usually have their basis in
fact. And the same is true about these weapons. In fact, it was in the ninja's best
interest to allow myths and stories to persist, especially if they would cause their
enemies to fear them even more.
One story about the ninja star that is probably the most commonly talked about
today, is that ninja operatives dipped their throwing stars in poison.
Now, before I say anything about whether or not that's true, let's take a walk
down "common-sense" street, shall we? Let me ask you a couple of questions.

First, how would the ninja carry such a weapon? If the pointed tips of the weapon
were dipped in a lethal, fast-acting poison, how would the ninja avoid being
accidentally poked by his or her own weapon? I mean, after all, the shinobi
operative was required to climb, roll, bend, and crawl to get to their objective.
What was the likelihood that they wouldn't inadvertently jab themselves through
their clothing?
Hmmm.... perhaps they could carry them in tough-skinned, leather pouches.
Perhaps. But then... how would they be able to draw and throw the weapon at a
second's warning, should they have to? And speaking of drawing the weapon
under pressure...
... What if they accidentally pricked a finger during the draw? See what I mean?
The reality of the situation is more likely linked to the fact that...
...There was no cure for tetanus, or lockjaw, in the ancient world of the East or
West. All it took was a little rust, and you now had a weapon that could deliver a
much greater killing potential. But, fast acting? Hardly. After all, few things are as
fast acting in our own modern world as the myths attributed to the poisoned ninja
star.

Other Myths
There are countless myths about the ninja, his skills, and weapons. Some of the
other ones that I routinely encounter from intelligent, and well-meaning
individuals, and even martial arts teachers, include:
The shuriken was a killing weapon. Uh, no. Outside of an accidental cut
across a shallow artery causing a deeper than usual cut, the typical star, thrown
from a distance, does not have enough weight, momentum, or depth-potential to
penetrate the body deeply enough to reach the life-sustaining organs.
Even the idea that the point of the star could "penetrate the gateway to the brain"
the eye - and kill, is bull. The accuracy, timing (for the blade to meet the eye
socket of a "moving" adversary), and design of the weapon just do not allow for
this to happen.

Another common myth is that the ninja carried a bunch of shuriken around with
them. Again, lets think about today's world. What would happen if you got caught
with a bunch of shuriken by the authorities?
Right!
And, in ancient Japan, nothing would have screamed "Ninja! like a bunch of
these little babies tucked away in a pouch, especially being carried by someone
wearing one of these ninja night suits peddled in the magazines and catalogs!
Again, the reality is something a bit different. What if the shuriken was designed
from, or disguised as something else? What if, with the proper disguise himself,
the ninja operative could get away with carrying dozens of these metal plates,
and even if he was searched and they were found, nothing would happen?
It's true. And the disguise was often that of a simple... carpenter.

Take a look at the picture above that shows a "star" shuriken and a throwing
spike, known as a bo-shuriken, locked together. Do you have any idea what that
set-up could be, especially to a carpenter four or five centuries ago?
The reality is that the spike is a nail and the "star" is a carpentry tool known as a
kugi-nuki or nail-puller." Often, modern practitioners of the martial arts look at
something from days gone by and try to make an assumption about it based on
modern knowledge and technology. When, in fact, that assumption couldn't be
farther from the truth. Long story short, the nails of ancient Japan had no head
and, since there were no claw hammers either... get it?

The stars themselves were simply flattened squares that were used like washers
(also called senban - but more on this later) that the spike would be bent over to

hold corners and such in place. The spike was driven through the hole in the
center and then pounded at an angle across the plate to hold it in place. If a
mistake was made, with or without the plate, another one could be used to pry
the nail-spike up and then slipped over the shank to pull it out of the wood.
I know. Not as glamorous as the image of a black-clad ninja stalking around the
country-side, but neither is the sight of a country-side littered with the bodies of
stupid ninja who would have believed they could do what the creators of these
myths suggest!

Common Uses of the Ninja Star

The truth is that the shuriken was a hand-held or thrown weapon used primarily
for distracting, confusing, and unbalancing an adversary. And, in a time where
superstitions about gods and demons were common, as well as a rigid code for
doing any "thing" was in place, unconventional tactics born of unconventional
thinking was perfect for tipping the advantage in the Ninja's favor.
As a throwing tool, the shuriken could have been used to cut a sentry from a
distance. From a hiding place near a gate the ninja wished to enter, the blade
could be thrown in such a way as to create a cut before spinning off and
disappearing. The guard, believing that he was being attacked by an invisible
swordsman and not wanting to take any chances, would run off to get help,
leaving the area unattended.
The weapon could also be tossed or thrown from within a defensive situation in a
way and with the timing that would conceal it. The assailant, being cut or hit by
an unseen weapon, is suddenly confused and open to a follow-up attack. In
addition, the weapon could be used as a delivery device for carrying messages
or burning compounds for setting fires - something that was a constant threat in a
culture where wood and paper were the primary building materials!
While we're at it, we should probably also get over the idea that the shuriken was
something that was limited to just a ninja weapon. Sorry, just isnt so.

There were many Samurai lineages throughout history, and individual warriors
themselves, who employed the use of thrown blades as well. But, just as with
any of the tactics, skills, and tools associated with the ninja... it's not so much
about this or that being a Ninja "thing," as much as it is in the way the Ninja
employed it. To be a Ninja is to think, outside-the-box of conventional thought,
understanding, and wisdom. It is a realm that, when actualized, allows the
practitioner a tremendous sense of freedom to operate and produce results in a
way that seems to be almost magical to everyone around them.

It is true that, since the lineages of Ninjutsu are older, and stem from an age
even before the time of the people we have come to know as Samurai, that they
not only used the shuriken first, but developed it to a much higher degree than
anyone else. This is true of the shuriken as much as it is of any other principle or
concept in their arsenal.
And this brings me to, what I believe to be, the greatest myth of all. This myth is
even stated right there in the name that most people give to the weapon:
"throwing star."
In truth, the last thing that a good combatant wants to do in a violent situation is
to throw away his weapon. This is just as true for weapons like the spear and
knives, as it is for shuriken.
And therein lies one of the weapon's greatest strengths...

To be concealed in the hand during punching and grabbing, and then


brought into play at the perfect time to inflict greater damage to an
opponent during defensive action!

Of course the ninja had methods for throwing this powerful little weapon. But,
they also had methods for throwing a staff, sword, and many others, too. That
doesn't mean that was their primary or favored tactic, though.

Going Beyond the Form


One of the major principles involved in mastering the shuriken is to go beyond
the form. In the art of Ninjutsu, all weapons can be categorized under five
general classifications.
The ninja prefer to focus on principles and concepts over set-in-stone "forms."
So, instead of trying to learn and list a whole set of similar weapons like long
sword, short sword, ninja-to, knife, etc...
...We say "bladed."
And so it goes with the remaining four classifications:
Stick
Flexible
Projectile, and...
Combination
Understand?
So, which category does the shuriken belong to?
Careful. This could get tricky. Remember how I said the ninja learns to think
outside the box? Well, here's a good example of that in action.
While some would classify the shuriken as a "bladed" weapon, because it is a flat
blade, at least in its hira "flat" or shaken 'wheel' form, others would say that it's
a projectile weapon because its thrown. But...is it limited to either of these?
I would submit that it might even appear to be a combination weapon, as it has
multiple purposes or characteristics combining more than one of the other
classes. But is it this either?
It's not a combination weapon in the sense that a yari ("spear") or naginata
("halberd") is. Each of these is a bladed weapon attached to a stick or staff. And
it's not like the kyoketsu-shoge (pronounced 'kyoh-ketsoo-show-gay') or kusarigama ('koo-sah-reegah-mah') "chain & sickle" weapon.
See. It depends on how you view it. And with the right perspective, the shuriken
is at the same time, part of any of these classifications, and yet free of being
limited by any of them as well. Truly a Ninja's weapon!
Do you see where I'm going with this? If you do, then you already see that this is
not just another book about...

Martial arts
Ninja, or...
Weapons

It's a whole lot more. And, if you look closely at the lessons being conveyed, you
just might find the hidden key to living and thinking like a Ninja, each and every
day of your life - in everything you do!
In upcoming chapters, we'll take a look at, not only the different types of throwing
methods, but also at some of the ways that the ninja-magician can use the
shuriken as a hand-held weapon to confuse, damage, and defeat his enemy.
You'll find techniques and tactics against punches, kicks, grabs, and weapon
attacks that will definitely help you to break free from the limited thinking caused
by these and other myths.
But for now, let's start our training by laying a proper foundation for defending like
a master warrior...

Chapter 3
Mastering the Basics of the Ninja's Shuriken
Before we get started into the physical training and skills with the shuriken
weapon, it's important that we get a handle on just exactly what a shuriken is. We
talked a little bit about this in the previous chapter, especially when we dispelled
some of the myths surrounding this mysterious little piece of ninja hardware.
The word shuriken is made up of three syllables, and when written using SinoJapanese kanji characters, we see that it is
broken down into:

SHU = "hand"
RI = "hidden", and...
KEN = "blade"
Which gives us the meaning of a 'blade
concealed in/by the hand.' But, knowing what we
do about the earliest forms of this weapon, we also know that this name probably
came later in history - with the concept of a "blade." And, you'll notice that,
nowhere in the name are the words or concepts of "star," or "throwing."
There is, however, a very similar word, shiriken (pronounced, shee-ree-ken)
that developed as a method for throwing a knife or short sword. In this case, the
kanji for ri (ree) is that of flipped or reversed, etc. In this case the sword was
flipped or held in reverse fashion with the hand on the blade and the butt-end
pointing at the enemy. The weapon was then thrown at the adversary for a kill.
Ill be making mention several times throughout the book, about the tendency of
some to superimpose their own assumptions about what something means. To
many English speakers, whose ears are not tuned to Japanese pronunciation
and linguistics, shuriken and shiriken can sound identical. In some cases, its
merely poor research by one teacher that gets passed along as the gospel for
all future followers to believe in.

This kind of thing, if extended globally, can be seen in many of the lessons and
ideas passed down from our Japanese warrior ancestors. Modern-day martial
artists have long been mistranslating many concepts out of a basic ignorance of
how the Japanese saw a particular thing in the days, years, and centuries before
the landing of Admiral Perry and the introduction of Western things into the tiny
island-nation.
Let me just finish by adding that, the shuriken are not the only things being
misunderstood and re-translated with someones ideas. We can begin with the
basics themselves. And, when something as simple as the word koshi, usually
translated as hip in the modern context, is encountered in a historical technique
description on a scroll, can be end up being very different when seen through the
eyes of a 14th or 16th century writer, you start to understand just how big of a
problem we could be facing.
That being said, lets move on to...

Types of Shuriken

Contrary to popular belief, there are actually several types, or forms of shuriken.
Whenever I point this out, many of my students readily jump to the conclusion
that Im talking about how many points the "stars" have. When, in fact, I'm not
talking about that at all.
What I mean is that there are two basic types of shuriken. If we can drop the
concept or notion the weapon being a "star" at all for the moment, and remember
that the definition of the word "shuriken' doesn't translate to "star" anywhere
within it, we can make progress. That's because the star-shaped weapon that is
most familiar to both martial artists and non-practitioner's alike is only one form of
the weapon - regardless of the number of points. After all, a "star" is a star.
The two types of shuriken are the;
Hira-shuriken (aka Shaken) - flat, wheel blade, and the...

Bo-shuriken - "stick" or spike

Each type had many names associated with them. The names were either...
Lineage-specific, as with the number of points on a hira-shuriken
Based on the object the weapon was made from (i.e. kugi-gata nail-form,
hari-gata needle-form, etc., or...
Based on the actual object that was thrown (i.e. kunai-gata utility-tool-form,
kankyuto-gata piercing-tool (for leatherwork and armor-making) form, etc.
As the last class points out, the idea was to learn the concept so that you could
use whatever was at hand. Other items that were thrown were things like the
kogai ornamental hair pin used by Japanese ladies, and hashi chopsticks.
Though there were different forms and lineage-specific details for using these
weapons, like all true budo tactics, there are common principles and concepts
that are universal for each type of shuriken - wheel or star shaped, or the stick
of leaf form.
Let's briefly take a look at each major type.

The Hira-Shuriken
This version of the weapon is indeed the star-like pattern you're probably most
familiar with. Also called a shaken or "wheel-blade", this form was usually
constructed from very thin plates of iron with a various number of points
according to the ryu-ha or school.
Within the Togakure Ninja school that I have been taught, there are typically
three and four pointed versions, although there can be more.
The point (so-to-speak) of having fewer tips was precisely to allow the Ninja to
hold the weapon in special ways to give that added something to punches and

hand techniques when fighting at close-quarters. The 4-pointed version is called


a "senban" shuriken in the Togakure school. And, as I pointed out above, the
word senban means "washer" in Japanese, and points directly to the disguise
and impersonation skills of the ninja. Of course, in their original form, the hirashuriken of yesterday look very different from the pretty little toy "stars" being
peddled in martial arts supply stores here is the West.

The Bo Shuriken
This version of the shuriken weapon, unlike the "star" or "wheel" form, is often
overlooked by most, as it doesn't fit the conventional throwing-star model. In fact,
theyre often considered by many to be more in the category of throwing knives
than shuriken. This, of course, is not the case.
Bo shuriken are, just as the name implies, straight, stick-like, spikes. They can
have either one or both ends ground to a point. And, while most of those
available today possess a round shank, it's more likely that the models of ancient
times were more square and slab-like. Since they would have been cut from thick
plates of heated metal, and the lathe technology for metalworking was not
prevalent, it's far more likely that this is true.
Bo shuriken also have several methods for throwing, depending on whether or
not the Ninja wanted the spike to fly straight into its target, or turn end-over-end
to get there.
But, with either the throw, the grip was the same, using a unique positioning of
the fingers that form a channel that the bar can slide through and maintain its
intended trajectory.

Modern equivalents
Again, we want to get out of the limited thinking that cages the minds of the
average person if we're to master the skills and what it means to be a Ninja. Just
as with our shinobi ancestors, the law frowns on the use and even possession of
these weapons in many places around the world. No matter though. Because,
just as authorities never outlaw pens, umbrellas, brooms, and closet dowel rods
for hanging our clothes and therefore they will never take 'stick" weapons away
from us (even if they outlaw every martial arts weapon in the book!). The same
goes for such items as ashtrays, saucers, cell phones, and other items
resembling the model of the hira-shuirken, they can never take away all of the
things around us that can be employed like a shuriken without radically changing
life as we know it.
Get the idea?
Just as learning how to use the Kubotan: self-defense keychain allows you to
employ the same tactics, skills, and techniques with a pen, ruler, or other small,
hand-held item, learning to use the shuriken literally multiplies what you have athand to use in your own defense - a hundred-fold, if not more!!!

To get you thinking along these lines, here's a short list of items that can be
used, both hand-held and/or thrown, as a weapon once you've mastered the use
of the shuriken:
Credit cards
Coins
Business cards
Small, flat stones
Chopsticks
Pens & Pencils
Wallet
CD/DVD (and their cases!)
Small Picture frames
Small Books
Tea Saucers
Drink Coasters
Cookies/Crackers
Nails
Chisels
Wrenches & Screwdrivers
Scalpels
Meat Thermometers
Medical Thermometers
ID and Security Badges (especially the stiff, laminated kind)
Police and Security Badges
Small, flat medicine boxes (like those that decongestants, etc are sold in)
Waitress' Meal Check Book
Floppy Disks
Knitting and crochet needles
...In fact, anything that is shaped like either version of the shuriken can be
pressed into use. Even your cell phone, iPod, eyeglasses, toothbrush, or a
sandwich can be pressed into service once you understand the concepts that
gave birth to the original weapon. The difference, of course, is whether or not it
has an edge, what kind, and how you can press it into service to defend yourself.
You know... Everyone gets so caught up in the idea of these way cool martial
arts weapons, as though they have some kind of magic power, in-and-of
themselves. But, the truth is, historically, they were just tools - everyday tools pressed into service AS weapons.
Nunchaku are rice flails for separating the grain from the chaff.
Tonfa were gristmill handles.
Sai are farmers sickles.
Shuriken were taken from... Well, you know...

Im always telling my students: Go to Lowes or any hardware store. Walk in, go


to the garden and other tool sections, and look at all the way cool martial arts
weapons!
The point here is that, if youre going to get past the usual mindset that limits
most martial artists and potential warriors, youre going to have to see beyond
the names, conventional titles, and specific forms of things.
But hey...that's what training is for!
You're not going to learn things like that sitting on your duff behind a computer
screen...just reading about how it's done!

Holding the Weapon for Maximum Effect!

Basic Grips
As a means of getting you started, I've selected a few of the most common grips
that I teach my students when presenting this material. Once you become
proficient in these (please note that I didn't say... "After you learn these"), then
you can start adding more or experimenting with some of your own ideas. But, be
careful with the "I made it up myself" routine. Unless you have the experience of
using this, or any skill, under duress, when a blood-thirsty attacker is putting the
pressure on you, you can't be sure if your home made technique is going to work
or not. And learning that it really doesn't in a life-or-death situation is not my idea
of a good time.

Holding the Hira-Shuriken for hand-held Defense


When holding the standard, 4-point shuriken for hand-to-hand combat (it's not
recommended to try to hold a star with more than four points), it's important to
make sure that the weapon you're using is either not sharpened at all, or is only
sharpened at the tips.
That brings up another myth about the throwing star. And that is that it has to be
sharpened from tip to center along the blades.

Maybe it looks more lethal that way, I don't know. But again, theres a problem
with this. First, the entire bladed section isn't going to touch the target and
therefore doesn't need to be sharpened. The shuriken that I have made for my
students are from an original pattern. These shuriken are so thin that they cut
extremely well and don't have to be sharpened at all!
The other, more critical problem is that...If your star is sharpened too much, you
can't hold it for hand-to-hand combat and therefore seriously limit its uses. In
other words, you HAVE to violate the first principle of combat and force yourself
to...throw your weapon away!
Now... how smart is that? Would a real ninja box themselves in like this?
No. Of course not!
Take a look at the picture of the hira-shuriken gripped for hand-held usage.
Notice the finger placement? This is very important as this position allows for the
most flexibility, strength, and adaptability when using the weapon in-close.

From this grip, we can...

...Punch directly into a target...

...Execute a clubbing, parrying, counterstrike to an incoming limb...

...Employ hooking, trapping strikes and cuts to hidden targets...

...Hook onto soft, exposed parts of the assailant's body or clothing (like a claw)
with the bottom point,

And...We can also flip the weapon over from hand-held...

1
...To throwing position...
3

4
...And back again...

1
...To hand-held position...

3
... In one quick, deft motion!

Practice the maneuver until you can do it with your eyes closed - while moving
and without cramping your hand or dropping the weapon!
There you go. One grip...5 or more uses...just to get you started!

Holding the Bo-Shuriken for Hand-to-Hand Combat


Due to it's simple shape, the bo-shuriken's use is pretty self-explanatory. Take a
look at the pictures to see the fore and reverse grips for the weapon. For those of
you who have properly trained with a knife, the answer is "yes," the thumb
belongs along the shaft of the weapon. Unlike the knife, with a much larger grip
area, using the thumb as shown here weakens the grip. Not so with the boshuriken. Its slim design requires some reinforcement to increase leverage and
strength during pressure point and stabbing attacks with the weapon.

(Fore Grip)
The reverse grip is easy to hide when the arms are hanging naturally at your
sides. In addition to stabbing, this position makes it possible to hook, grab, and
control parts of the assailants body while other weapons or tactics are being
used.

(Reverse Grip)

Holding the Hira Shuriken for Throwing

Again, the hira, or star-wheel version of the shuriken, has two basic grips - each
grip matching an intended throwing method. In keeping with the Ninja's principle
of naturalness" and doing that which will produce the results we want in the
easiest way possible, we want to hold the shuriken star so that our grip and
extending arm will naturally produce a throw that will do what we want.
The two most common intentions when throwing a star-shuriken is to either:
1. Stick it in something, or...
2. Have it cut the target and spin away.
I know that, for most, the idea of getting a throwing star to stick into its intended
target really gets their blood pumping. Watching my students get frustrated
because their shuriken hit the exact spot on a target but failed to stick, is a
common occurrence in the dojo ("training hall"). But, let me ask you...
...What would happen to a ninja in 16th century Japan who threw a star at a
Samurai dressed in wooden or at the very least, thick material-based armor?
Nothing would be more surprising than to have your assailant pull the weapon
from his armor (or body), and throw it BACK AT YOU!
And besides, against a Samurai in full armor, the only exposed places to target
would be the slight opening between the top of the men "face plate" and the front
rim or visor of the kabuto "helmet.," the hands, and the feet (remember, it was a
sandal-based society).
To get an idea about the size of these targets, look at these rectangle blocks.
Andeven at a distance of 3 to 6 feet, these targets, especially when moving,
can be VERY difficult to hit.
We'll talk more about the difference between throwing at a stationary target and
actually trying to hit a moving adversary in the heat of a fight in the next section
on throwing the shuriken.
For now though, just like I teach in my combat handgun courses, it's important to
understand the effect that our grip and posture has on keeping a weapon on
target when we're under pressure.
Take a look at the two grips pictured next.

Target area of the palm-side of the hand of a Samurai in full Armor


(Remember that the back of the hand would have been covered in armor, leaving half the
target area as the exposed fingers!)

Target area of the face on a Samurai in full Armor


You'll quickly notice that the hand position is very different for each. It's precisely
this difference that causes the shuriken to leave the hand and travel to the target
in a manner consistent with the effect we're trying to cause. And that is either to:
1. Stick, or...
2. Cut
Grip for throwing the shuriken in a way that will cause it to stick into it's intended
target (less spin)

Grip used for creating a buzz-saw-like spin-cut at the target (more spin)

Remember: Due to the fact the ninja star is designed primarily as a distraction
tool and is not likely to cause damage enough to disable your attacker, the spincut throw is the preferred method for most defensive uses. That way, he cant
pull the star out of the wall or his body part (his anger intensified by the pain!),
and throw it back at you.
Ironically though, the throwing method for getting the star to stick...is the easiest
to learn!
And finally...

Holding the Bo-Shuriken for Throwing


Unlike the usual grip used by most knife throwers, the grip used for launching the
bo-shuriken is unique. The hand is formed in a way that uses the fingers to
create a channel that the weapon sits in. The channel also acts as a guide, much
like the barrel of a gun, to give greater control as the spike leaves the hand on it's
way to the target.
Even though it has, like the star, two throwing methods, the grip for the boshuriken doesn't change.
The basic grip for the spike-like bo-shuriken

(Point forward)

(Point backward)

In Conclusion...
Remember that what I'm presenting here is one way to do these things. I believe
it is the right way, not just because it's what my teachers taught me,
but...because Ive tried other methods and found that they were not in alignment
with the Ninja's principle of naturalness. In other words, after trying many
different ways, these methods allow me to produce the results I want with the
least amount of energy, power, and wear-and-tear!

However...If you find that another method works for you and you can produce the
same results with the same or less effort, then by all means...USE IT!
Just make sure you're being honest with yourself and not just selecting a method
because it's what you learned first, it's fancy, or it's a favorite.
That being said, and now that we've looked at how to hold the weapon, let's
move on to...

Throwing Postures
Just as important as your grip, is the posture from which you use to launch the
shuriken. And while a master practitioner should be able to throw from just about
any position he or she finds herself, we have to begin somewhere, don't we.
The following pictures show the basic bladed stance for launching the hirashuriken using both a horizontal "Frisbee-like" throw, and an overhand "baseballlike" throw.
Please note that I used the terms "Frisbee" and "baseball" to give you a
reference point that you're familiar with, NOT as a description of how to actually
throw the weapon.

For Vertical, Overhand Throwing

For Horizontal Throwing

Understanding distance with the Bo-Shuriken


One of the important principles that you'll need to understand for effectively using
the bo-shuriken is that of distance. Because the spike doesn't have the benefit of
multiple blades that radiate out from center, like the "star" weapon, you'll need to
be able to calculate the rotation of the weapon to insure that the point meets the
target at the right time.
As a side note, remember that you're throwing a piece of metal at someone in the
heat of a fight. Can you imagine being hit in the face, or anywhere on your body,
out of nowhere...with a piece of metal?!
The point is, even if you don't make the weapon stick into the target, remember
the important thing...you HIT the target with a solid object! And, unless youre
fighting the Terminator, he WILL respond!
As a means for practicing to get to know the flight dynamics of the bo-shuriken, a
good rule of thumb is that the weapon will make a half-turn about every three feet
it travels to the target. This is assuming, of course, that you're using the throwing
method I describe here.

Throwing for Accuracy and Power


The key to throwing the Ninja star or spike with precision and enough power to
do the job, lies in the Ninja's use of the body in motion. The ninja's Taijutsu "body
art" of relaxed, flowing, movements that gets the body weight fully behind the
weapon is the key. Regardless of whether we're delivering a punch, kick, cutting
with a sword, or throwing the shuriken, the principle is the same.
If you're unfamiliar with Taijutsu, or the ninja's unarmed fighting style, the
following description may help. But, remember that nothing beats actual
experience with a master teacher.

Look at these pictures to get an idea of the flow inherent in the movement of
launching the throwing star weapon at a stationary target. Remember that, we
are really practicing the proper skills for being able to hit any target, whether
stationary or moving, with these skills. And, while it may seem like a good idea to
"cheat," and change the way you're doing things, you will only be lengthening
your learning curve. This will only mean that it will take much longer to master
these skills.
Here are the steps for throwing the flat, star-like weapon at a target horizontally...

Horizontal Throwing
From a basic bladed posture like the ninja's ichimonji no kamae; hold the star in
the lead hand using one of the grips shown in the previous section. The lead arm
should be bent so that the weapon is held, palm-up, in front of the midsection.
Then, using a smooth, gliding movement, shift your weight forward over your
lead knee while simultaneously extending your lead arm out towards the target.
The elbow should remain in a tucked position in front of the ribs, then extend out
in a straight line towards the target as the hand and lower arm shift into place.
This movement is very different from the arcing "Frisbee" throw that I often see
being done. This type of throw should be avoided, even if it is tempting to do
when throwing.

The main reason for this is that the practitioner has to time the release of the
weapon at the precise place along the arc for the weapon to move in the correct
direction. And, if you've ever thrown a Frisbee this way, you know how much your
friend has to move to chase and catch the toy!
The throwing of the blade is more like dealing cards. Instead of flipping the wrist,
creating the telltale arc, simply extend the weapon towards the target in a straight
line, as if you were "feeding" the weapon to the target.
You'll know when you have this correct as the lead arm will be pointing directly
at, and not past, the intended target at the moment of release. If you've gone
past the intended target, you know that you're throwing an arc.

Vertical Throwing
From a basic bladed posture like the ninja's Doko no kamae; hold the weapon in
the rear hand using one of the grips shown in the previous section. For this
description, I'll be focusing on throwing the nail-like bo-shuriken, but the basic
principle and technique holds true for the hira-shuriken.
The lead arm should be straight in a good kamae-based, covering position (you
may be moving away and parrying or covering against an incoming attack). The
rear arm is bent, with the forearm vertical so that the weapon is held, fingers-up,
beside the ear or top of the head.
Then, using the same smooth, gliding movement described for the horizontal
throw, shift your weight forward over your lead knee while simultaneously
extending your rear arm out towards the target. This extension should, again,
create a natural straight line and not be swung in a downward arc from the
shoulder. The elbow should remain in a tucked position beside the ribs, then
extend out in a straight line towards the target as the hand and lower arm shift
into place.
This movement is very different from the arcing, whipping, "baseball" throw that I
often see being done. This type of throw should be avoided, even if it is tempting
to do when throwing at a stationary target. The main reason for this is the same
as for the horizontal throw - you have to time the release of the weapon at the
precise place along the arc for the weapon to go where you want it to. And, in the
heat of combat, against a moving target... you don't have that luxury!
And, just with the horizontal throwing action, you'll know when you have this
correct as the lead arm will be pointing directly at, and not below, the intended
target at the moment of release. If the spike is not sticking in the target where
your fingers are pointing, either your throw is too weak or you're whipping.
Here are the steps for throwing the spike-like, bo-shuriken weapon at a target...

In both forms of throwing, it is the extending arm and final natural movement of
the hand and wrist that creates or eliminates spin on the weapon as it leaves the
hand.
There is no need to force anything, if you know what is happening with and as a
result of the body movement.
As you can see, as with all things related to the ninja and the true budo of real
warriors, there is much more to the shuriken then meets the eye.

But, as I said, just reading about how to do it wont do much for improving your
skill level beyond where it is right now. If you want to just have something to talk
about with your friends in the dojo, over coffee, or on the net...you probably dont
need to do much more than maybe re-read a section or two to make sure you got
your facts straight.
However, if your goal is skill proficiency and mastery, then theres lots of work to
be done. And that will require effort, discipline, and commitment to putting in the
time needed. Even then...
Were only halfway.
Now that weve covered the history, background, and basics of throwing the
shuriken - what, to most people, is the obvious or omote aspect of this weapon,
lets turn our attention to the hidden or URA realm of...using the shuriken as a
hand-held tool for self-defense.
In Section II of this book, Ive outlined some example techniques for using both
the hira and bo-shuriken against common punching, grabbing, and kicking
attacks. Youll also find a few techniques for using the shuriken in a close-range
encounter where swords are involved.
My goal was not to overwhelm you with a ton of techniques. But, instead to cover
the essential principles and concepts for using the weapon effectively, and in a
way that takes advantage of its ability to seemingly come out of no-where to
confuse, harass, and inflict damage upon the unsuspecting assailant foolish
enough to attack you in the first place!

SECTION II
Hand-held Self-Defense Tactics with
the Shuriken!
Chapter 4
Defenses Against Strikes and Kicks
When using the shuriken as a close-range self-defense tool, remember that the
weapon is there to assist your techniques, not make them something they're not.
No weapon can make up for lousy skill when it comes to self-defense. If you can't
do things like evade strikes, maintain your balance, and move freely and quickly
without a weapon, it's not going to be any different with one. Just as a person
who couldn't hit the broad side of a barn with a rock, that same person isn't going
to do any better just because he's throwing a shuriken!
The following techniques are some basic and not so basic examples of using
both the hira and Bo shuriken against punching and kicking attacks. Please note

that we are using a rubber, practice weapon, like our students train with. This is
both for our partner's safety and to be able to practice without causing damage to
ourselves should we make a mistake.
Also note that, because we are using a mock-up and not the actual tool, you will
not see the blood, torn flesh, or hear the blood curdling screams that will
accompany the proper application of these techniques in action under real
conditions.
As an added bonus to your training, make sure that you also train with these
techniques WITHOUT the weapon. After all, they are simply unarmed techniques
where a weapon has been introduced to make them even more effective!

Hira shuriken vs. a Straight Punch

From your new position of safety, you can flip the shuriken over into throwing
position and send it flying towards his face if he attempts to recommit to the fight.

Defense Against a Straight Punch #2

Defense Against Punches and Kicks with the Bo Shuriken

Defense Against Grab and Punch Combination with the Bo Shuriken

NOTE: As an advanced training exercise, you can combine this technique with the last one using the first move in this string continue where the last one in the previous technique left off.
Remember that kata are moments of potential in time, not set-in-stone things.

A broken or impaled body part like this is an excellent control from this point out.
All you need to do is hold onto the affected area and strike or move it to intensify
pain whenever the assailant tries to continue. Eventually, he will need to move
away to take care of his injuries or simply pass-out from the mind-numbing pain!
In using the bo-shuriken with the fore grip, simply apply the same principles and tactics
as those used with the Kubotan, self-defense keychain weapon.

Defense Against a Kick with the Hira Shuriken

Chapter 5
Defenses Against Grabbing Attacks
Just as with the defenses against punches and kicks, the shuriken becomes an
aid to an already effective technique. The benefit in a grappling situation though,
is that the pain caused by the weapon allows you to break the attacker's balance,
attention, and will so much easier.
It's important to remember to keep the weapon concealed, even while using it. If
the assailant realizes what you have, he will take steps to defend and protect
himself against it. This means that hell also turn up the volume on his attack hell fight harder. Knowing what weapon you're using gives him an advantage
where, only seconds before, not knowing kept him in the dark and even more
confused about how you were causing so much pain!

Remember that the following techniques use just as much, if not more,
psychology, as they do physical technique. If you can remember this important
point, and use it to your advantage, not just with the shuriken - but always - you
can gain control of a situation long before the assailant ever realizes that hes
lost it!

Defense Against a Bully-Type Grab with the Shuriken

Heres a technique that can employ either the hira or the Bo versions of the
weapon. As long as you do this convincingly and don't over-act, he'll believe that
he has control of this limp, rag doll of a wimp that he's just taken a hold of. In
reality, what you're doing is employing the Ninja's kyojutsu tenkan ho method of
'disguising truth and falsehood' to get your hands into position above his
grabbing arms.

Defense Against a Single Hand Grab with the Hira Shuriken

Defense Against a Wrist Grab with the Bo-shuriken

Defending Against a Double Lapel Grab with the Hira Shuriken

Chapter 6

Defenses Against a Sword Attack


Here are a few for the traditionalists!
In ancient Japan, it was not uncommon for a Ninja operative to be unarmed when
encountering a fully packed Samurai or Bushi. In this case, the ninja had better
be able to pull a trick or two out of his pouch, if he or she stood a chance.
As an important note, it's important that we respect the skills of the swordsman even a mediocre one. Contrary to the techniques that are routinely depicted in
martial arts magazines, videos, and on web sites these days, it is VERY difficult
to beat a trained swordsman. Hell...it's difficult to get in on, let alone beat, an
untrained person flailing at you with a knife, machete or any other weapon, like a
shoto or katana with a 28 - 36" razor blade attached to it!

Defending Against a Downward Cut Using Taihenjutsu & Shuriken


Unlike most martial systems, where the practitioners resist or avoid going to the
ground at any cost - or those who take a fight to the ground as a default as
though equalizing a fight somehow increases your chances of survival, the
Ninjas taihenjutsu (body-changing arts) utilize rolling, leaping, breakfalls, and
other ground-covering maneuvers for both offensive and defensive tactics.

Defense Against a Sword Draw-and-Cut "Stand-Off"


From a stand-off kind of position where you can't wait for the attacker to make
the first move, you can throw a shuriken that has been previously concealed in
your sword-drawing hand to distract him long enough to execute your own drawand-cut maneuver. After this first move, the rest is easy!

Chapter 7
Defending Against Someone
Throwing a Shuriken at...YOU!
As much as martial artists and those studying self-defense would like to believe
that their techniques and weapons are unbeatable, the truth is that...
...You don't really know a technique or weapon as well as you should if you can't
defend against it!
Think about that for a second. Are your techniques really THAT superior?
Is any weapon really THAT invincible? If so...
...What will you do if someone attacks YOU with it... just lie down and die?

No.
Mastery in the Ninja's arts of "winning against all odds" demands that you not
only know how to use a weapon like the shuriken effectively, but also that you
know how to defend yourself against it should someone try to us it on you.
The point of the following techniques is this:
You don't truly know a weapon unless you understand it's weaknesses and
limitations.
But... never forget the most important lesson of all:
You are defending against the "opponent," not just the working-end of his
weapon!

Unarmed Defense Against a Thrown Shuriken (Strategy #1)


Using last-second, evasive turns and shifts of the body to avoid incoming blades
is the best course of action if you can't find objects with which to hide behind.
Also, putting sufficient distance between you and the weapon thrower also
increases your odds of not being damaged. And, even if you are hit, moving with
the attack or being farther away lessens the damage that can be inflicted on you.

REMEMBER: The shuriken is a harassment weapon and not likely to do serious damage if it hits
you. Keep your wits, even when damage occurs in a fight, and youre more likely to keep your life

Unarmed Defense Against a Thrown Shuriken (Strategy #2)


Contrary to the movie images popular in the media and even in video games
today, showing the Ninja catching blades between his hands, a true Ninja never
willingly comes in contact with a live weapon, unless he or she has no other
choice. Evasion is always preferred over trying to block or catch a weapon,
regardless of whether were talking about a shuriken, katana blade, or even an
unarmed fist.

Using a Weapon As a Shield Against Incoming Shuriken


The trick with this technique is to avoid using big, sweeping movements against
any single weapon. Understand that you only need to protect a small profile and,
creating the correct position makes it very difficult for an attacker to get even a bo
shuriken in on you - no matter how good he is!

"Ninja Magic"
What is written here is by no means a complete account of the kuji-in or the kuji-kiri that
gave the Ninja mystical powers, but rather a reference to the meditative skill that the
ninja practiced.
"KUJI-IN"
What I am presenting here is by no means a complete account of the Nine Finger Cuts
that gave the Ninja mystical powers, but it will serve the would be Maho Tsukai
(sorcerer) as a very useful and provocative primer. The exact origins of the nine cuts are
unknown, but it is believed that the Tantric Buddhist Schools of Shingon and Tendai
Mikkyo first introduced them to Japan. It is a common misconception that the techniques
of Kuji were the sole domain of the Ninja. This is not true, as even a cursory exploration
of the Koryu (traditional feudal arts of the Samurai) will reveal. For instance, the Yagyu
Shinkage Ryu and the Tenshin Shoden Katori Shinto Ryu both made use of the Kuji In
and Kuji Kiri.
Though the techniques of Kuji In and Kuji Kiri are closely tied to one another, they in all
actuality serve two very distinct functions. The Kuji In hand positions are used to invoke
nine levels of mystic power. They are a method of focusing the mind and activating these
powers, each in turn. The Kuji Kiri, however, is a form of practical sorcery, the method
of which we will discuss shortly.
When utilizing the Kuji In, you may find the outward technique less important than your
inward understanding of the concepts symbolized by each of the "cuts". In the beginning,
rely more on what you feel internally, and less on written interpretation.
The Nine levels of the Kuji-in:
Rin Kyo Toh Sha Kai Jin Retsu Zai Zen -

Strength
Direction of energy
Harmony of the Universe
Healing of self and others
Premonition of danger
Knowing the thoughts of others
Mastery of time and peace
Control of the elements of nature
Enlightenment

THE MUDRAS, MANTRAS, AND POWERS OF THE KUJI IN

RIN
STRENGTH of mind and body
MUDRA: DOKKO IN (VAJRA)
MANTRA: ON BAI SHIRA MAN TO YA SO WA KA
This Kuji not only focuses physical strength and intelligence, it also confers physical well
being and attitude.
Middle fingers extended, others interlocked.

KYO (PYO)
DIRECTION OF ENERGY
MUDRA: DAIKONGO IN
MANTRA: ON I SHA NA YA IN TA RA YA SO WA KA
This at first glance may seem to refer to directing energies into
action, but it is also the power to increase one's own inner energy.
Index fingers and thumbs extended, middle fingers curled over index fingers. Others
interlocked.

TOH
HARMONY with the universe
MUDRA: SOTOJISHI IN
MANTRA: ON JI RE TA RA SHI I TA RA JI BA RA TA NO-O
SO WA KA
There is more to this than meets the eye. Submit to the All and share its momentum and
its wisdom. The intelligence of an individual is always less than the combined
intelligence of group. Study on this.
Last two fingers extended to form a V (tips touching). Thumbs extended, others
interlocked.

SHA
HEALING of self and others
MUDRA: UCHIJISHI IN
MANTRA: ON HA YA BAI SHIRA MA TA YA SO WA
KAON NO-O MA KU SAN MAN DA
What would you find more useful, the ability to kill or the power to heal? With the
development of your inner power, you will find that you succumb to infection and illness

less and less often. And that you can confer these healing properties upon others.
Index fingers and thumbs extended, others interlocked.

KAI
PREMONITION of danger
MUDRA: GEBAKUKEN
MANTRA: BA SA RA DAN KANON A GA NA YA IN MA YA
SO WA KA
With the achievement of this cut, you can feel the emotional intent of others, giving you
the advantage of knowing how others will react in a given situation.
All fingers interlocked.

JIN
KNOWING THE THOUGHTS OF OTHERS
MUDRA: NAIBAKUKEN
MANTRA: ON HI RO TA KI SHA NO GA JI BA TA I SO WA
KAON CHI RI CHI I BA RO
Achieving adepthood with this Kuji confers the ability to "feel" thoughts. Not just
revealing the thoughts of other to you, but also cloaking your thoughts from others.
All fingers interlocked inwards.

RETSU
MASTERY OF TIME AND SPACE
MUDRA: CHIKEN IN
MANTRA: TA YA SO WA KA
This is mastery of perception on many levels; this is more than just
transcending the limits of perception. It is also the power to grasp the relativity of
perception as it relates to space/time. The implications of this Kuji are profound.
Index finger of left hand pointing up with the fingers of the right hand curling round it.
The thumb of the right hand should be pressed against the outside edge of the nail on the
index finger of the left hand).

ZAI
CONTROL of the elements of Nature
MUDRA: NICHIRIN IN
MANTRA: ON CHI RI CHI I BA RO TA YA SO WA KA

This represents not so much a control over nature as much as an understanding of the
elements of nature so deep that the Ninja appears to be able to control nature due to
profound insight into its workings.
Fingers outspread, palms out. Index fingers and thumbs touching.

ZEN
ENLIGHTENMENT
MUDRA: ONGYO IN
MANTRA: ON A RA BA SHA NO-O SO WA KA
"Know thyself" As the Sufi says: "If you can go ten minutes without a conditioned
reaction, then you are illuminated".
Right hand covering Left hand. Thumb tips touching

"KUJI-KIRI"
Pictured below are the names of the Kuji forming a grid of nine slashes. The grid is
drawn starting with Rin, then Sha, then Toh, and son following the across then down
pattern.

The method is incredibly simple and well suited to Chaos Magic. Simply write the
symbol of desire (traditionally in Japanese Kanji, but any sigil will suffice) and using the
Kuji, draw the grid over the symbol.
As an example, if you wished to heal an illness, draw a picture of the person, then the
symbol over the part of the person that is diseased including the grid. After this talisman
has been activated, you perform the "method of the tenth cut" (that is, you rub the
talisman across the affected part of the person's body). Needless to say, a curse might be
cast in a very similar fashion.
Another method of using the Kuji Kiri is to draw the talisman on the palm of the hand
using your index finger.
**NOTE**
This is just a brief amount of knowledge of the kuji. There is much more information
about this means of meditation and mental practice of the ninja that will not be written
here. I believe that all of the advanced techniques and teachings should be practiced
traditionally from teacher to student.

Gyokko Ryu Kosshijutsu

Published and produced by


Takamatsuden Books

Disclaimer
Please note that Takamatsuden Books are NOT RESPONSIBLE in
any manner whatsoever for any injury that may result from
practicing the techniques and / or following the instructions given
within. Since the physical activities described herein may be too
strenuous in nature for some readers to engage in safely, it is
essential that medical advice is sought prior to any training.

All rights reserved. No part of this publication may be reproduced


or utilized in any form or by any means, electronic or mechanical,
including photocopying, recording, scanning, or by any information
storage and retrieval system, without prior written permission from
Takamatsuden Books.

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Gyokko Ryu Kosshijutsu


(Jewel Tiger School Finger Bone Art)

Takamatsuden Books 2010

Gyokko Ryu Kosshijutsu

Gyokko Ryu Kosshijutsu


(Jewel Tiger School Finger Bone Art)

Mokuroku

Taihenjutsu

Zenpo kaiten

Soku ho kaiten

Koho kaiten

Zenpo Tenkai

Koho Tenkai

Sokuho Tenkai

Yoko Nagare

Tate Nagare

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Zenpo Ukemi

Zenpo Sayu Jge Choyaku

Ken

Kikaku Ken

Shuki ken

()
Fudo Ken (Nio Ken)

()
Kiten Ken (Shuto)

Shishin Ken

Shitan Ken

()
Shako Ken (Shihan Ken)

Shito Ken

Shiyaku Ken

Shikan Ken

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Koppo ken

Happa Ken

Tai Ken

Keri

Sokuyaku ken

Sokki Ken

Sokugyaku Ken

Sanpo Gassho

Tenryaku Uchu Gassho

Chiryaku Tenpu no Gassho

Jinryaku Hanno Funitsu no Gassho

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Kamae

Ichimonji no kamae

Jumonji no kamae

Hicho no kamae

Taihenjutsu Kihon Gata

Hira no kamae

Ichimonji no kamae

Jmonji no kamae

Moto Gata

Migi Ichimonji no kamae

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Hidari Ichimonji no kamae

Migi Hich no kamae

Hidari Hich no kamae

Migi Jmonji no kamae

Hidari Jmonji no kamae

Torite Kihon Gata

()
Soni Ichi (Migi Omote Gyaku)

()

Soni Ni (Hidari Omote Gyaku)

()
Sono San (Migi Omote Gyaku Tsuki)

()

Sono Yon (Hidari Omote Gyaku Tsuki)

()
Sono Go (Migi Ura Gyaku)

()
Sono Roku (Hidari Ura Gyaku)

()

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Sono Shichi (Migi Musha Dori)

()
Sono Hachi (Hidari Musha Dori)

()
Sono Kyu (Migi Muso Dori)

()
Sono Ju (Hidari Muso Dori)

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Taihenjutsu

Zenpo kaiten (Forwards Roll)


This is a forwards roll. With the two-handed roll, tuck the chin in
and to the side of your chest, for a one handed roll, you roll over
your shoulder. In time and with practice you will be able to roll on
any surface. When you roll, you should be looking slightly to the
rear. This I practiced 2 handed, 1 handed and without hands.

Soku ho kaiten (Side Roll)


Ryote Sokuho Kaiten (Migi) Start in Shizen. Place the right hand
close to the right foot, with the tips of the finger pointing forwards.
The left hand has the fingertips pointed to the right and is to the left
side of the right hand almost in the middle creating a T shape.
Then roll to the right and back to Shizen
Katate Sokuho Kaiten (Migi) This is the same as the last
technique, but with just the right hand on the floor.
Mute Sokuho Kaiten (Migi) This is the same a the last technique,
only the right hand sweeps over the surface of the ground, not
actually touching the ground.
These should be performed on both left and right sides.

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Koho kaiten (Backwards Roll)


From Shizen Tai sink down to the knees, and at the point just before
you touch the floor, roll backwards. Go over the one shoulder so as
not to damage the neck, then back to Shizen. Again, this should be
done 2 handed, 1 handed and with no hands.

Zenpo Tenkai (Forward Rotation)


Move forwards and handspring forwards. Again, this should be done
2 handed, 1 handed and with no hands.

Koho Tenkai (Rear Rotation)


This is a backflip. Again, this should be done 2 handed, 1 handed
and with no hands.

Sokuho Tenkai (Side Directional Rotation)


This is a sideways handspring / cartwheel. Again, this should be
done 2 handed, 1 handed and with no hands.

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Yoko Nagare (Side Flow)


From Shizen no Kamae, swing the leg to the side across the front of
the supporting leg, drop down and roll so the swinging leg comes
over the opposite shoulder, then back to Shizen.

Tate Nagare (Standing Flow)


From Shizen, step forwards with one foot then drop down and just
before the buttocks touch the floor. Then, with one leg extended
forwards, roll backwards as in Koho kaiten, over the shoulder and
then back to Shizen.

Zenpo Ukemi (Front Breakfall)


It is wise for the beginner to start from kneeling and work up to
doing this technique from standing. The impact from the floor is
absorbed into the forearms. The rear leg comes up as a counter
weight (Also a counter strike as a kick). Also, form a triangle with
your hands, with your forearms resembling a Japanese number 8 .
Your face should be above the triangle when you strike the mat with
your arms.

Zenpo Sayu Jge Choyaku


This is to jump in all directions. The directions that you should train
are - Up (Ten ), Down (Chi ), Left (Hidari ), Right (Migi ),
Forwards (Mae ), Backwards (Ushiro ).

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When you jump, do not jump too high, instead make sure that you
are jumping low and far. Distance is important.
Be aware that there is also Marutobi (Circular leaps) - this
means jumping to change your position to align yourself with your
opponent. This is Hichojutsu.

Ken (Fists)

Kikaku Ken (Demon Horn Fist)


Using the thick bone on the forehead, sides, and the back of the
head, use this strike to smash your opponent.

Shuki ken (Hand Wake Up Fist)


Use the tips of the elbow for striking close to the target. Practice
Ryote Shuki Ken too.

()

Fudo Ken (Nio Ken) (Immovable Fist Guardian Fist)


Use the knuckles of the index and middle finger for punching, and
striking with the thumb on the outside of the fist. This is Fudo Ken.
When the knuckles of the little, and ring finger are used for striking,
it is called Nio Ken.

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()

Kiten Ken (Shuto) (Wisdom Fist Hand Sword)


Use the sides of the hands, with the hand open about 60 degrees,
snapping the hand open on impact. (This strike is used a lot).
Shuto cames from the Koto Ryu (all techniques from these densho
use this name for the fist). Kiten Ken comes from the Gyokko Ryu.
There is Omote Shuto and Ura Shuto.
The energy for the strike comes from the elbow. If you try use
power for the Shuto from your shoulder, then you could dislocate it.
From Ichimonji no Kamae, turn the hand over in front of the face to
strike with Omote Shuto, sinking the knees down as you strike.
With Ura Shuto, bring the fist to the opposite side ear, similar to the
way that you would hold a phone receiver. This Shuto makes use of
small but powerful movements.

Shishin Ken (Finger Needle Fist)


This is for the fingertip for striking or pressure, using mainly the
little finger. It is also known as Issun Boshi Ken (one
inch law teacher fist). In Japanese legend a little boy used this to
beat a monster. There is a story that master Takamatsu Sensei once
broke a rock in two halves using this technique.

Shitan Ken (Finger Tip Fist)


With your fingers pointing forwards, you use 3 or 4 of your
fingertips in a stabbing motion towards the opponent.

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This fist is also known as Sanshi Ittotsu Yo Ken


(Three finger one strike dancing fist). When three fingers are used
to strike together it is known as Gokukaku Ken . Grip the
thumb with the little finger with the middle three fingers hooked.
Use this to strike the three points of the throat area Ittoki ,
Toki no to , Santo (Ittou - Nittou - Santou) This strike
is also known as Hosen Ken (Bee Sting Fist).

()

Shako Ken (Shihan Ken) (Claw Fist)


Use the palm, and the fingertips to strike, and also to scratch. You
can also strike with the palm of your hand. Master Takamatsu
Sensei trained both his fingernails and toenails until his nails were
like the claws of a wild beast. He had to use a pair of gardening
sheers to cut his nails. Master Takamatsu Sensei trained his nails
using rocks when he spent about a year in seclusion in the
mountains. However, master Takamatsu Senseis fingers were
actually soft and flexible. He was able to bend his fingers until they
were almost touching the back of his hand.

Shito Ken (Sword Finger Fist)


This is most commonly referred to as Boshi ken (This is
what this fist will be known as in these densho).
Use your thumb extended, supported by your fist to jab and strike
muscle areas and nerve endings of your opponent.
This is also known as Hiso ken (Secret spear fist).
The name Boshi ken comes from the Koto Ryu and Shito ken is
from the Gyokko Ryu

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Shiyaku Ken (Leaping Finger Fist)


Make a fist then extend the second knuckle of the middle finger.
Use this to strike the Ukess weak points/kyusho.

Shikan Ken (Extended Knuckle Fist)


Use a fist similar to Fudo Ken, only use the second row of knuckles
of your four fingers to strike the target.

Koppo ken (Bone Principal Fist)


Use the middle knuckle of your bent thumb supported against a
clenched fist. Use this for striking or applying pressure to your
opponent. You should also practise changing from Koppo ken to
Boshi ken.

Happa Ken (Eight Leaves Fist)


Use your open hands, as slapping strike (mostly to your opponents
ears to rupture them).
You should train this, moving from Happa Ken, turning it into a Nio
Ken. Then, from Nio Ken to Happa Ken.

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Tai Ken (Body Fist)


Use the hips, shoulders etc to strike, slam or to apply pressure to
your opponent. This is known as a Goshin (Perceiving mind
form) attack. This should be used when you wish to strike your
opponent using your whole body. It is also called Tai Atari.
The secret of this fist is to become the fist.

Keri (Kicks)

Sokuyaku ken
This is to use the ball/heel of the foot, to kick into the Uke.

Sokki Ken
This is to use the knee to strike close targets. You should train with a
view of changing directions with this strike.

Sokugyaku Ken
This is to use the tips of the toes to strike, or jab the target. This can
also be called Soku Shin To (Toe sword) if you strike with the toe.

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Sanp Gassh (Three Treasures Prayer)

Tenryaku Uch Gassh (Heavens Strategy Universal Prayer)


Begin in Shizen no Kamae. The hands are clasped in front of the
body (chest) with the finger interlocked on the outside of the hands.
Then move the hands straight out in front of you until the arms are
straight, step back into Ichimonji no kamae.
Kuden: The meaning of Tenryaku Uchu Gassho is becoming one
with nature. Enter a state of Emptiness.
This gives you the feeling of you becoming close to divinity,
working as one through your own strength and mind. This will
enable you to defend yourself.
The Ten Ryaku Uchu Gassho means peace and
harmony (all elements from the left and right united), with no desire
to fight.
The following is also attributed to the Ten Ryaku Uchu Gassho:
Jin, Gi, Rei, Chi, Shin, Chi, Sui, Ka, Fu, Ku Gassho

Jin (Understanding of Human)


Gi (Moral and ethical conduct)
Rei (Courtesy)
Chi (Judgement and Wisdom)
Shin (Belief, Faith)
Chi (Earth), Sui (Water), Ka (Fire), Fu (Wind), Ku
(Air/Sky)
Gassho (prayer)

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Chiryaku Tenpu no Gassho (Earth Strategy Heavens Wind Prayer)


The thumb (Ku ), and the forefinger (Fu ) of each hand touch,
the left then interlinks with those of the right hand. The rest of the
fingers are straight and touching. These are then held vertical in
front of the chest. This is Futen Goshin Gassho . Then
move the hands straight out in front of you until the arms are straight,
step back into Ichimonji no kamae.
Kuden: The meaning of Futen Goshin Gassho is that you take
refuge in nature as ones protector.
(You should be free like the power of the wind).
When doing the Futen , you should imagine that a Typhoon or
whirlwind is spinning around you when you perform the Inso .
This will help protect you.

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Jinryaku Hanno Funitsu no Gassho (Human Strategy Responsive


Seething And Overflowing Prayer)
The thumb (Ku ), and the ring finger (Sui ), of each hand touch,
and those of the left hand interlink with those of the right hand. The
rest of the fingers are straight and touching. They are held in front
of the chest. This Hanno Hon Itsu Gassho . Then
move the hands straight out in front of you until the arms are straight,
step back into Ichimonji no kamae.
Kuden: The meaning of Han-o Hangeki Gassho is to take advantage
of the opponent by not matching the opponents movements.
Have the expression of a prayer, naturally responding to all
movement, the same way that water can bring down a mountain.

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Kamae (Posture)

Ichimonji no Kamae (Figure One Posture)


From Hira no Kamae step back with the right foot. The feet are
approximately 2 to 3 feet apart with about a 2 inch gap between.
The front foot (left) is angled very slightly to the right. This is not
noticable to the opponent. The back foot (right) points 45 degrees to
the rear. Lower your centre of gravity as much as is comfortable
(this takes time). Your knees should hide your feet if you are
looking down (important point). Make sure the knees are not
buckling inwards to take the strain. This will hurt initially but the
pain is temporary and, if practiced correctly, will build strong legs.
This is an important point. Your back needs to be straight. Make
sure your backside is not sticking out. This is a common mistake
and should be corrected from the start. Keep your shoulders relaxed
and do not hunch them. Your left arm is slightly bent at the elbow
and held out to the front, 45 degrees to the right. The back of the
leading hand is held towards the opponents heart as if it was a mirror
reflecting it. The fingers are together. Do not open them. The tips
of the fingers are about the same level as the eyes. The back fist is
held loosely in Boshi Ken (do not clench the fist) and this sits
loosely on the crook of the leading arm. The thumb is pointing up.
Remember, keep the shoulders relaxed. Your neck and head are
straight and relaxed and pointing towards the opponent. Do not tilt
your head to the side. This is a common mistake and should be
corrected from the start. Fix your eyes on your opponent. Take all
tension out of your body and relax. This is Hidari (left) Ichimonji
no Kamae. Do this on the other side also (Migi (right) Ichimonji no
Kamae).
Kuden
Stare into the opponents eyes and create the intention of piercing
through the opponents heart

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Hicho no Kamae (Flying Bird Posture)


From Ichimonji no Kamae lift the leading leg and place the foot
loosely onto the crook of the supporting leg (the crook of the knee
created by bending it). Other than that, the Kamae is identical to
Ichimonji no Kamae. One important thing to watch out for is your
back. Do not retain your balance by bending the back. Try to learn
natural balance. Again, remove all tension from your body and relax
into this Kamae. This Kamae is for being able to have perfect
balance before and after kicking your opponent.
Kuden:
Stare into the opponents eyes with the feeling of storing up energy
in the your body, releasing the energy at the instant you are attacked.
Also, it is important to have a feeling of being able to move freely.

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Jumonji no Kamae (Figure Ten Posture)


From Hira no Kamae step back on a 45 degree angle about 3 feet
with the left foot. The front foot (left) is forward. The back foot is
90 degrees facing out to the right. The weight should be slightly to
the rear leg. Lower your centre of gravity as much as is comfortable
(this takes time). Your knees should hide your feet if you are
looking down (important point). Make sure the knees are not
buckling inwards to take the strain. This will hurt initially but the
pain is temporary and, if practiced correctly, will build strong legs.
It feels as though you are sitting down on a chair. This is an
important point. Your back needs to be straight. Your torso is 45
degrees to your opponent (left side forward). Make sure your
backside is not sticking out. This is a common mistake and should
be corrected from the start. Keep your shoulders relaxed and do not
hunch them. The arms are crossed at the wrists with the left in front,
at chest height. The wrists cross about two fist width from your
upper chest. The hands are in extended Shito Ken (Boshi
Ken). Hold these fists loosely. Your thumbs point up. The head
looks out just above the hands. Your neck and head are straight and
relaxed and pointing towards the opponent. Take all tension out of
your body and relax. This is Hidari (left) Jumonji no Kamae. Do
this on the other side also (Migi (right) Jumonji no Kamae).
Kuden:
Fill your whole body with intent, and stare into the opponents eyes
with the feeling of repelling any attacks.

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Taihenjutsu Kihon Kata (Body Changing Art Fundamental Forms)


These are for practising the Gyokko Ryus basic ways of moving the
body.

Hira no Kamae (Flat Posture)


Stand in Hira no Kamae. The Uke Stands in Dai Jodan no Kamae.
The Uke cuts with Shomen Giri. As the Uke commits to the cut,
lower your centre of gravity and move off 45 degrees to the rear
with Sokuho Kaiten. Either left or right side are fine with this.
Then, immediately recover from the roll into Ichimonji no Kamae.
Zanshin.

Ichimonji no Kamae (Figure One Posture)


Stand in Ichimonji no Kamae. The Uke Stands in Dai Jodan no
Kamae. The Uke cuts down. Begin to roll past the Uke with Katate
Zenpo Kaiten (45 degreed forward). You must time this well. Come
up from the roll immediately and prepare to lunge at the Uke. Even
if the Uke turns to face you and lifts the sword into Dai Jodan no
Kamae, this is OK. Whilst leaping into a kneeling position, strike
with Shito Ken either to Butsumetsu if you roll behind the Uke, or
Suigetsu if you roll in front of the uke. Zanshin.

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Jumonji no Kamae (Figure Ten Posture)


Stand in Jumonji no Kamae. The Uke stands in Dai Jodan no
Kamae. The Uke cuts down. Step back with the left foot to avoid
the cut and then leap back in with the left foot leading. Strike to
Uko with a right Ura Shuto then switch step (leaping) strike to
other side Uko with a left Ura Shuto. Then quickly leap away to
escape. Zanshin.
The 2 Ura Shuto can also be Omote Shuto also, this should be
practiced left and right.

Moto Gata (Awakening Patterns)


These are for learning the circular movements, which are
characteristic of the Gyokko Ryu

Migi Ichimonji no Kamae (Right Figure One Posture)


The Uke and the Tori are both in Ichimonji no Kamae. The Uke
attacks with Fudo Ken to Men (head). You avoid this by stepping
back 45/90 degrees with the right foot and by dropping your hips.
You receive the attack with Jodan Uke to Hoshi (strike with the
knuckles underneath the elbow). Raise the hips and prepare to strike
the Uke with Omote Shuto. Also prepare to use the back foot to
propel you and add momentum to your movement. Using the
momentum created by the back foot, move in to strike the Uke to
Uko with Omote Shuto. As you hit the Uke, turn your body in with
the strike to increase the power created. Return to Ichimonji no
Kamae and maintain Zanshin.

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Hidari Ichimonji no Kamae (Left Figure One Posture)


This is the same as the last technique, but done on the left.

Migi Hicho no Kamae ( Right Flying Bird Posture)


Stand in Hicho no Kamae. The Uke is in Ichimonji no Kamae. The
Uke begins to attack with Fudo Ken to Suigetsu. Raise your fist in
preparation to receive the attack. Either you parry the arm or strike
to Nagare (straight down). Then, kick with the raised leg to
Suigetsu.
At this point, either place the kicking leg down and prepare to strike
with Ura Shuto (left hand in a fist by your right ear as if you were
holding a telephone with the wrong hand), or, leap around with the
legs, again, in preperation for the Ura Shuto. The leading leg lands
slightly to the outside. As you strike the Uke to Uko with Ura Shuto,
drop the hips. Return to Ichimonji no Kamae. Zanshin.

Hidari Hicho no Kamae (Left Flying Bird Posture)


This is the same as the last technique, but done on the left.

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Migi Jmonji no kamae


Both you and the Uke are in Jumonji no Kamae (right foot forward).
The Uke strikes to Men with a left Fudo Ken. Step back slightly
with the left foot and drop the hips. Receive the strike with your
right knuckles to Hoshi. Then, strike to Kimon with right Shito Ken.
Raise the hips and pass your right hands fingers across the Ukes
eyes as Metsubushi. Zanshin Step back with the right leg into the
opposite side Jumonji no Kamae (left foot forward). Again, the Uke
strikes to Men with a right Fudo Ken. Step back slightly with the
right foot and drop the hips. Receive the strike with your left
knuckles to Hoshi. Then, strike to Kimon with a right Shito Ken.
Raise the hips and pass your left hands fingers across the Ukes eyes
as Metsubushi. Step back with the left leg into Migi Jmonji no
kamae. Zanshin.

Hidari Jmonji no kamae


This is the same as the last technique, but done on the left.

Torite Kihon Kata


These techniques are for the purpose of practising the basic joint
locks as well as the circular movement which is characteristic of the
Gyokko Ryu. If your opponent is strong, use your body more
effectively by dropping your weight. You do not need the opponent
to let go of the jacket for you to be able to do the techniques.
You begin from Shizen Tai.
In the Torite Kihon Gata, there are no official names for the Kata.
They have become known by the first names listed here. They could

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also be called number one (Sono ichi ), number two (sono ni


) etc.


Sono Ichi (No.1) Migi Omote Gyaku (Right Outside Wrist
Reverse)
The Uke grabs your right lapel with his left hand. Cover this gently
with your right hand. Come up onto the ball of your right foot and
twist your hips in anti-clockwise towards the Uke and at the same
time, drop your hips. This is to A: protect the groin and B: enter into
a position to take the Ukes hand off your lapel. Grab the Ukes
hand at the same time. Rise from the hips and use the push-up with
your forearm under the Ukes arm to take the Ukes hand from your
lapel. Change over to the other foot and raise onto the ball, again, to
protect the groin (this is kind of a twisting motion). Pass the fingers
of the left hand across the Ukes eyes as Metsubushi, and at the
same time, twist the Ukes wrist up. Grip the Ukes left hand with
both hands now in preperation of Omote Gyaku. Keep your elbows
tucked in. Step back and around with the right leg and use the
elbows as an axis to throw the Uke with a diagonal cutting motion
(Kesa Giri). Keep hold of the Ukes wrist after the throw and
maintain Zanshin.


Sono Ni (No..2) Hidari Omote Gyaku (Left Outside Wrist Reverse)
This is the same as the last technique, but done on the left.

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Sono San (No.3) Migi Omote Gyaku Tsuki (Right Outside Wrist
Reverse Thrust)
The Uke grabs your right lapel with his left hand. Cover this gently
with your right hand. The Uke steps in with the left leg and punches
with the right fist to Men. You step back with the right leg and drop
low with the hips. Receive the attack with the left hand knuckles,
upwards to Hoshi. Then, take the Ukes hand off your Lapel with
your right hand, as with the last technique, and grasp it firmly with
both hands. At the same time, raise the hips slightly. Keep your
elbows tucked in. Step back and around with the right leg and use
the elbows as an axis to throw the Uke with a cutting motion (Kesa
Giri). Keep hold of the Ukes wrist after the throw and maintain
Zanshin.


Sono Yon (No.4) Hidari Omote Gyaku Tsuki (Left Outside Wrist
Reverse Thrust)
This is the same as the last technique, but done on the left.


Sono Go (No.5) Migi Ura Gyaku (Right Inside Wrist Reverse)
The Uke grabs your right lapel with his left hand. Cover this gently
with your right hand. You cover the groin with the outside of the left
knee by coming up onto the ball of the foot. Also use the fingers of
the left hand as metsubushi to distract the Uke. You press the thumb
of your left hand into the Kyusho between the thumb and the index
finger.
Then press down with the right hand to release the Ukes grip.

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Make sure that your left elbow is covering you from a potential
attack. You drop the hips as you do this. Then, roll the hand into
Ura Gyaku. Also switch the covering leg to the right leg. You
apply Ura Gyaku. The Uke resists this throw. So, you change to
Omote Gyaku. Reach in deep with the right hand to grab the Ukes
hand. Roll the Ukes hand into Omote Gyaku. Also switch the
covering leg to the left leg. Step back and around with the right leg
and use the elbows as an axis to throw the Uke with a cutting motion
(Kesa Giri). Keep hold of the Ukes wrist after the throw and
maintain Zanshin.


Sono Roku (No.6) Hidari Ura Gyaku (Left Inside Wrist Reverse)
This is the same as the last technique, but done on the left.


Sono Shichi (No.7) Migi Musha Dori (Right Warrior Capture)
The Uke grabs your right sleeve. You step out to the right and stoop
low. Roll the palm of your right hand under to the Ukes elbow and
continue to roll to lock the arm. As you raise your hips, press onto
the Ukes elbow from above with both hands.
The Ukes hand is caught in the crook of your outside elbow. Then,
push to the Ukes left knee with your right foot to collapse the
opponent to his knee - This is to break the knee. Maintain the
pressure with the hands throughout this.
Apply pressure to the Ukes elbow and take the Uke down to the
floor with this pressure. This is to break the elbow. Zanshin.

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Sono Hachi (No.8) Hidari Musha Dori (Left Warrior Capture)
This is the same as the last technique, but done on the left.


Sono Kyu (No.9) Migi Muso Dori (Right Warrior Destroy Capture)
The Uke grabs the end of your right sleeve. You pull back with the
right leg and cover with the left hand to guard against a potential
attack. Begin to wrap the Ukes arm with your right arm from above
with a big wrapping movement. Also, adjust your feet so that you
are on the same line as the Uke. Your hands lock vertically as in a
prayer. Your right thumb is on top. This will make a solid lock.
Then, pull your right leg back and go onto the right knee while
lifting your arms, raising your hands over the right shoulder. This is
when you would break the Ukes shoulder. Zanshin.


Sono Ju (No.10) Hidari Muso Dori (Left Warrior Destroy Capture)
This is the same as the last technique, but done on the left.

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J ryaku no Maki

2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
1.

Kok (Empty Space)


Renyo (Palanquin)
Danshu (Snapping Hand)
Danshi (Snapping Finger)
Saka Nagare (Counter-Current)
Ke (Seagull)
Hane Bi (Leaping Fire)
Ket (Fail And Overthrow)
Yubi Kudaki (Finger Break)
Ketsu Myaku (Tightening Vein)
Sakketsu (Slice Off The Lock)
Tei Ken (Hoof Fist)

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Sanp Gassh (Three Treasures Prayer)

Tenryaku Uch Gassh (Heavens Strategy Universal Prayer)


Begin in Shizen no Kamae. The hands are clasped in front of the
body (chest) with the finger interlocked on the outside of the hands.
Then move the hands straight out in front of you until the arms are
straight, step back into Ichimonji no kamae.
Kuden: The meaning of Tenryaku Uchu Gassho is becoming one
with nature. Enter a state of Emptiness.
This gives you the feeling of you becoming close to divinity,
working as one through your own strength and mind. This will
enable you to defend yourself.
The Ten Ryaku Uchu Gassho means peace and
harmony (all elements from the left and right united), with no desire
to fight.
The following is also attributed to the Ten Ryaku Uchu Gassho:
Jin, Gi, Rei, Chi, Shin, Chi, Sui, Ka, Fu, Ku Gassho

Jin (Understanding of Human)


Gi (Moral and ethical conduct)
Rei (Courtesy)
Chi (Judgement and Wisdom)
Shin (Belief, Faith)
Chi (Earth), Sui (Water), Ka (Fire), Fu (Wind), Ku
(Air/Sky)
Gassho (prayer)

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Kok (Empty Space)


Kuden
This techniques meaning is to make somebody kick to an empty
space. The important point in this technique is leaving your lower
body in a place that the Uke can easily kick. Another important
point is the three directions for stepping with the right foot,
depending upon the distance.

Both clasp both hands in Tenryaku Uch Gassh and bow to each
other. Then, both you and the Uke stand in Ichimonji no Kamae.
As the Uke punches to Men, step off to the right between 45 / 90
degrees, sink the hips, and strike with the left knuckles to Hoshi.
Then, strike once more to Hoshi with a right Shuto whilst lifting the
hips and shifting across (this is done to break the Ukes elbow).
Your body position when you finish this movement invites a kick to
the groin. As the Uke kicks to your groin, pull the right leg back and
around to the left to avoid this, and kick to the Ukes kicking leg
with the left.
There are three ways of doing this.
1, If your leg is pulled back, kick to Kobura.
2, If the leg is pulled back but the distance is close, kick to the thigh.
3, If Yoko Aruki is used with your right leg instead of pulling the leg
back as with the previous 2 examples, use the knee to the point
called Sai.
Lastly, allow your whole body to fall into a Boshi Ken strike to
Butsumetsu from the Kick. This is very powerful.
Return to Ichimonji no Kamae and Zanshin.

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Renyo (Palanquin)
Kuden
This techniques meaning is to make the Uke fall like a wheel. The
locking method is whats important here, but if the Uke escapes, use
that to your advantage by kicking and simultaneusly re-capturing the
Uke with Omote Gyaku and then throwing the Uke down.

Both clasp both hands in Tenryaku Uch Gassh and bow to each
other. Then, both you and the Uke stand in Ichimonji no Kamae.
As the Uke strikes to Men, step off between 45 / 90 degrees and
receive this with the back of the wrist.
As the Uke kicks to your groin, pull the leg back and kick to the
Ukes Kobura as in Koku.
The Uke then grabs your lapel with the right hand. You cover the
grab with both hands. You then shift forward with the right leg and
strike the Ukes Uko with Ura Shuto.
Bring the hand back for Ura Gyaku. Turn your body clockwise and
step across the front of the Uke with the left leg. As you apply Ura
Gyaku with the right hand, brace the Ukes elbow all the way over
with the left.
The Uke resists this. Turn your body anti-clockwise to face the Uke.
As you do this, roll the Ukes hand over into Omote Gyaku with
both hands and kick the Uke to the ribcage with the toes of the right
foot.
You pull the left leg back and around (circular) for Omote Gyaku
and throw the Uke. Keep a hold of the hand. Pull the arm up and
kick with the left heel to Wakitsubo.
Zanshin

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Danshu (Bouncing Hand)


Kuden
This techniques name means to strike with a bouncing shuto. The
important point is, after striking with the left, use the rebound to
strike with the shuto as though you are cutting the Uke.

Both clasp both hands in Tenryaku Uch Gassh and bow to each
other. Then, both you and the Uke stand in Ichimonji no Kamae.
The Uke grabs the end of your right sleeve with his left hand. You
step out with the right foot and stoop low to the right. Roll the palm
of your right hand under to the Ukes elbow. As you raise your hips,
press onto the Ukes elbow and turn it as in Musha Dori, but lightly,
and with one hand instead of two.
The Uke punches to Men with the right fist. You receive this with
the left fist. Keep hold of the Ukes sleeve. Then, you rock
forwards and strike the Uke to Uko with Omote Shuto with the
feeling of cutting with a sword.
Keep hold of the Ukes sleeve. Hold the left shoulder with your left
hand and kick to the outside of the Ukes left knee with your right
foot to collapse the Ukes leg. This is intended to break the knee.
Then, place both hands on the Ukes elbow and put pressure onto it
whilst dropping your weight to drop the Uke.
This is intended to break the elbow. Lastly, kick to either:
1, The Ukes Butsumetsu with the right toes or,
2, The Ukes Wakitsubo with the right heel.
Zanshin.

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Danshi (Bouncing Finger)


Kuden
This technique means to strike with a bouncing finger (thumb).
What is important is that after you have struck with the left fist, you
strike down from above into Kimon with a turning motion of the
wrist.

Both clasp both hands in Tenryaku Uch Gassh and bow to each
other. Then, both you and the Uke stand in Ichimonji no Kamae.
The Uke grabs your lapel with his left hand. Cover with the right
hand. Remove the hand as in Omote Gyaku. The Uke lunges
forward with the left leg and punches to Men with the right fist.
Receive the punch with the left forearm while stepping back with the
right foot. As a rebound from this movement, strike to Kimon with
Boshi Ken with a downward motion.
Simultaneously grab the hand in Omote Gyaku and kick to Suigetsu
with the right foot. Drop the foot and sink the body to apply the
Omote Gyaku thus dropping the Uke straight down in front of you.
Stamp to Wakitsubo with your left heel to finish.
Zanshin.

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Saka Nagare (Reverse Flow)


Kuden
This technique means to reverse the flow. The thing here is to strike
the back of the Ukes hand / Hoshi when receiving on the outside,
and when receiving the Ukes kick, do so with a sideways swinging
of the knee.

Both clasp both hands in Tenryaku Uch Gassh and bow to each
other. Then, both you and the Uke stand in Ichimonji no Kamae.
As the Uke strikes to Men with a right punch, step 45 degrees
forward to the left with the left foot and strike the Ukes hand /
Hoshi with the right fist. The Uke kicks with the right foot.
Receive this with the left leg, using a clockwise swinging motion of
the knee. As this movement finishes, grab his right hand with your
left hand. Raise the Ukes hand up and turn to face the Uke opening
yourself for attack (Kyojutsu).
As the Uke strikes to Suigetsu with the left, step off to the left and
strike down to Nagare. Strike with Omote Shuto whilst forcing
down the Ukes right hand with your left. Within this movement,
capture the Ukes hand with your right hand also (flowing motion
after Omote Shuto). His will knock the Uke to the floor.
Keep hold of the Ukes wrist.
Finish with a left kick to Wakitsubo.
Zanshin.

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Ke (Settling Seagull)
Kuden
The techniques meaning is the movement of a Seagull flapping its
wings. What is important here is when striking down to both of the
Ukes hands, is to beat down in a large movement like the way a
Seagull flaps its wings.

Both clasp both hands in Tenryaku Uch Gassh and bow to each
other. Then, both you and the Uke stand in Ichimonji no Kamae.
The Uke grabs both lapels. Cover this lightly. Prepare to kick and
strike simultaneously rapping your knuckles to the backs of the
Ukes hands. Kick to Kinteki at the same time.
The Uke recovers from this and punches with the right fist to Men.
Stoop low to evade. Push up and out with your left forearm to the
right arm to unbalance the Uke.
Strike the Ukes right Kasumi with a right Ura Shuto. Finish with a
right kick to Butsumetsu.
Zanshin.

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Hane Bi (Leaping Fire)


Kuden
This technique means the way fire pops and cracks, and the way it
sends sparks shooting out. The thing here is when evading the
Ukes kick, you should drop your body as low as you can, then
suddenly standing up and pressing the other way, and throwing the
Uke with a big motion.

Both clasp both hands in Tenryaku Uch Gassh and bow to each
other. Then, both you and the Uke stand in Ichimonji no Kamae.
The Uke approaches from the rear. The Uke grabs the collar with
the right hand. Grab this with the right hand. The Uke kicks with
the right foot.
Evade this by turning anti-clockwise to face the Uke, dropping low
and receiving the kick with the left arm. Take the Ukes hands off
your collar and press the arm down / forward (stay low). Use the
Ukes little finger to control the Uke all the way through this
movement. Also, use your right hand to control the Ukes arm.
Change to Omote Gyaku suddenly, pressing the opposite way. Also
kick suddenly with the right foot to Suigetsu.
Then drop this foot straight down. Step back with the left leg and
throw with Omote Gyaku with a big motion.
Zanshin.

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Ket (Break Down A Gate)


Kuden
The meaning of this technique is the manner of breaking down a
gate. How you do the final kick is important in this technique. So
you are putting your body weight through the right foot and keeping
it there in order to stomp the Uke to the floor.

Both clasp both hands in Tenryaku Uch Gassh and bow to each
other. Then, both you and the Uke stand in Ichimonji no Kamae.
The Uke kicks with the right foot to Suigtsu. Evade this by stepping
out to the left 45 degrees forward with the left foot. Kick to the
Ukes Kobura with the right foot.
The Uke evades this by pulling the leg back at the knee. The Uke
then falls into a punch to the Suigetsu.
Evade to the right and stoop low while receiving the punch with the
left forearm. Strike with Shako Ken to the face to unbalance the
Uke. Also, push the Ukes arm forward. Keep the hand at the face
and kick to Suigetsu to topple the Uke.
This last section is done with the feeling of kicking through the Uke.
Zanshin.

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Yubi Kudaki (Finger Break)


Kuden
This technique means to crush the Ukes finger. The important
point is to grasp the Ukes little finger with your right hand and at
the same time, lower tour centre of gravity, and when the Uke
retreats, to drive into his chest with your left finger.

Both clasp both hands in Tenryaku Uch Gassh and bow to each
other. Then, both you and the Uke stand in Ichimonji no Kamae.
The Uke approaches from behind. The Uke grabs the back of the
collar with the right hand. Respond by turning in an anti-clockwise
direction and place your right hand on the Ukes hand.
The Uke pulls back by stepping back with the left leg. Move with
this by stepping in with the left leg and strike with Boshi Ken to
Butsumetsu with the left. (Keep hold of the Ukes hand with your
right).
Take the Ukes hand off in a circular motion and crush the little
finger with the right hand, while holding the Ukes arm at the elbow
with the left.
Move forward slightly with the right foot and bend the arm into a
right-angle. (keep pressure on the little-finger). Step back on the
left knee and drop the Uke. Break the little finger whilst doing this.
Stand up immediately and keep hold of the sleeve and the finger.
Stamp with the right foot to Wakitsubo to finish.
Zanshin.

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Ketsu Myaku (Tightening Vein)


Kuden
This techniques name means to sever the blood flow. The important
point is to inflict pain to the Uke before the Ukes sankaku-jime
attack is complete, and then to throw the Uke.

Both clasp both hands in Tenryaku Uch Gassh and bow to each
other. Then, both you and the Uke stand in Ichimonji no Kamae.
The Uke grabs from behind with San-Kaku-Jime with the right arm
across the throat., and the left arm behind the neck. In response, put
your chin in and drop your hips.
Hold the Ukes hand lightly with your left hand and place your right
thumb on Hoshi. Press the thumb up into Hoshi, raising the Ukes
right arm slightly to release the choke (make sure you also have hold
of the Ukes sleeve at the elbow).
Keep hold of the Ukes left hand and left sleeve. Drop to the left
knee to throw the Uke with Ippon Seoi-Nage. Keep hold of the
Ukes hand and sleeve, and stamp into Wakitsubo with the right foot
to finish.
Zanshin.

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Sakketsu (Killing Lock)


Kuden
This technique means to squeeze to death. The important point with
this technique is to extend the arms and strike back with your hips
with enough power.

Both clasp both hands in Tenryaku Uch Gassh and bow to each
other. Then, both you and the Uke stand in Ichimonji no Kamae.
The Uke grabs with Kannuki Jime from behind (this is to restrain by
wrapping your arms around the person when their arms are by their
sides. Lock your hands together also and squeeze).
Strike back with the hips and lift the upper arms to the side and
lower your posture to break the choke (you must do this before the
choke is completed). Grab the Ukes right hand with your right
hand. Step to the right and strike to the Ukes face with a left FudoKen. Follow this with placing your left arm behind the Ukes upper
arm.
Drop the Uke with Ganseki-Otoshi (keep hold of the Ukes hand).
Press the hand down to compress the bones . Finish by stomping to
Wakitsubo with the right foot.
Zanshin.

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Tei Ken (Hoof Fist)


Kuden
This technique means the appearance of a bull kicking with its
hooves. It is important to make sure your hips are far enough out to
the left.

Both clasp both hands in Tenryaku Uch Gassh and bow to each
other. Then, both you and the Uke stand in Ichimonji no Kamae.
The Uke grabs from behind with Hagai-Jime (under the arms and
grab the collar bone). Before the choke is complete, squeeze in with
your elbows to stop the choke. Then, cover the hands and place the
thumb tips on the back of the Ukes hands and apply pressure.
Twist both of the Ukes hands away from your body with Ura
Gyaku. Slam your hips to the left while holding the Ukes hands
high (do this all at once).
Bring the Ukes hands forward to take balance. Place your right leg
behind the Uke and bring the Ukes hands in toward you. Pull the
Ukes hands up and begin to move forward to throw the Uke (all of
this is done with a big circular motion).
Keep hold of the left hand and stamp to Wakitsubo with the right
foot to finish.
Zanshin.

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Gyokko Ryu Kosshijutsu


(Jewel Tiger School Finger Bone Art)

Ch ryaku no Maki
1.
2.
3.
4.
5.
6.
7.
8.

Ujaku
Seit
Dashin
Krai
Hsen
K
Shien
Hraku

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Chryaku no Maki

Sanp Gassh

Chiryaku Tenpu no Gassho (Earth Strategy Heavens Wind Prayer)


The thumb (Ku ), and the forefinger (Fu ) of each hand touch,
the left then interlinks with those of the right hand. The rest of the
fingers are straight and touching. These are then held vertical in
front of the chest. This is Futen Goshin Gassho . Then
move the hands straight out in front of you until the arms are straight,
step back into Ichimonji no kamae.
Kuden: The meaning of Futen Goshin Gassho is that you take
refuge in nature as ones protector.
(You should be free like the power of the wind).
When doing the Futen , you should imagine that a Typhoon or
whirlwind is spinning around you when you perform the Inso .
This will help protect you.

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Ujaku (Magpie)
Kuden
This technique means to move quickly, like a Korean Crow
(Magpie). What is important here is, when slipping in under the
Ukes arm, to stick with ones back against the opponent.

Both clasp both hands in Futen Goshin Gassh and bow to each
other. Then both you and the Uke stand in Ichimonji no Kamae.
The Uke attacks with a right punch. Evade this by stepping to the
left with the left foot and strike to Hoshi with the right fist. Then,
grab the sleeve at the elbow with the same hand.
The Uke then attacks with a right kick. Kick upwards to receive this
with the right foot (instep), then as your foot lands, step towards the
Uke with the left foot and strike the Ukes Butsumetsu with a left
Shito Ken. At the same time lift the Ukes right arm and slide your
hand to catch the Ukes hand in Omote Gyaku.
Then, with the right foot, step across with Yoko Aruki passing under
the Ukes arm to the front of the Uke. (Be aware of potential attack
while doing this movement and use the left to cover against an
attack). Then, bring the left leg around in a circle, so that your
legs are open and parallel.
Keeping hold of the Ukes hand, also grab this hand with your left
hand, and throw by lifting the Ukes hand up and at the same time
move forward. Finish by kicking to Butsumetsu with the right heel.
Then return to Ichimonji and Zanshin.

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Gyokko Ryu Kosshijutsu

Seit (Mackrel Drop)


Kuden
This technique means to move with the speed and power of a
Mackrel. The important thing here is when you grab the Ukes
shoulder with your right hand, reach across with the intention of at.
Acking the Ukes eyes (Metsubushi).
Both clasp both hands in Futen Goshin Gassh and bow to each
other. Then both you and the Uke stand in Ichimonji no Kamae.
The Uke attacks with a right punch. Evade this by stepping to the
right with the right foot and strike to Hoshi with the left fist.
The opponent then kicks with the right foot.
Twist from the hips to the left and use the power generated by this to
strike with the right fist to Kaku (knee).
The Uke then punches low with the left fist. Respond by stepping
off to the right while striking his arm down with the left at the point
called Nagare (forearm) to shock the Ukes arm and then
immediately catch the Ukes wrist.
Then, strike with the fingers of the right hand to the Ukes eyes for
Metsubushi. From the last movement, grab the Ukes shoulder with
the right hand and kick with the right foot to Suigetsu.
Recover from the kick by kneeling straight down onto the right knee
and pull the Ukes shoulder to drop the Uke down.
Then get up (still maintain the grip on the Ukes wrist) and kick to
Wakitsubo with your left heel.
Then return to Ichimonji and Zanshin.

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Gyokko Ryu Kosshijutsu


Dashin (Shake & Pull)
Kuden
The name of the technique means to shake and pull down.. What is
important here is the method of striking the Ukes thumb with the
shuto when you are knocking his short sword down.

Both clasp both hands in Futen Goshin Gassh and bow to each
other. Then both you and the Uke stand in Ichimonji no Kamae.
The Uke draws a short sword and stands in Seigan no Kamae.
As the Uke thrusts with the short sword to your stomach, shift to the
left with the left foot and lightly control the Ukes wrist with the left
hand. Then, shift forward with the right foot and strike with a Shuto
to the thumb to make the Uke drop the short sword.
Take the Ukes right hand in Omote Gyaku with both hands in
preparation for a throw.
The Uke kicks with either the left or the right. Kick up with the
right foot in response to this to put the Uke off-balance, then pull
back with your left leg and throw the Uke with Omote Gyaku.
Finish with a right kick to Wakitsubo.
Then return to Ichimonji no Kamae and Zanshin.

Takamatsuden Books 2010

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Gyokko Ryu Kosshijutsu

Korai (Tiger Fall)


Kuden
The name of this technique means to throw down a tiger. The
important point here is when slipping in underneath the Ukes arm is
to stick with your back against the Uke.

Both clasp both hands in Futen Goshin Gassh and bow to each
other. Then both you and the Uke stand in Ichimonji no Kamae.
The Uke draws a short sword and stands in Jodan no Kamae with the
short sword over the head (one hand holds the short sword).
The Uke cuts down from above. Take one step back with the left
and catch the wrist with the right hand. (Turn the hand in for this).
The Uke tries to pull away from this. Stay with the Uke and move
in the same manner as in Ujaku.
Bring the short sword between you and the Uke and continue as in
Ujaku. Throw the Uke with Katate Nage.
Place the hand that holds the short sword at the right hip to control
the Ukes short sword to stop him cutting you. (Control the Ukes
thumb).
Finish with a stamp to the Ukes head with the left foot.
Then return to Ichimonji no Kamae and Zanshin.

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Gyokko Ryu Kosshijutsu

Hsen (Bee tip)


Kuden
The name of this technique means to knock the Uke down with a
strike to the Ukes throat. The strike in this technique was once
called called Hsen Ken ().

Both clasp both hands in Futen Goshin Gassh and bow to each
other. Then both you and the Uke stand in Ichimonji no Kamae.
The Uke draws a short sword and stands in Jodan no Kamae (one
hand holds the short sword).
The Uke cuts down from above. Step 45 degrees back to the left
with the left foot whilst using Moguri Gata (submerging pattern).
The Uke then prepares for Migi Kubi Giri (neck cut). At the
moment this begins, kick up with the right foot (toes) to the Ukes
right elbow (kick the area is just above the elbow, to the nerve points
at the start of the muscle). This will knock the short sword out of
the Ukes hand and raise the right arm up.
As you land from the kick, strike the Uke with Gyokaku Ken (hold
the thumb and the little finger together and use the other 3 fingers
like a claw. Strike with the middle finger aimed at the base of the
windpipe and the other 2 on top of the collarbone). This strike
knocks the Uke down.
Finish by leaping onto the Uke with Migi Kakato Geri to the right of
the Ukes chest to finish.
Return to Ichimonji no Kamae.
Zanshin.

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Gyokko Ryu Kosshijutsu

K / Hane Tsurube (Well Bucket)


Kuden
The meaning of this technique is to use leverage. The important
point is that you dont attempt to catch the Ukes kicking leg on your
arm, but instead, you place it onto your shoulder. This Kata has two
names (Ko and Hanetsurube) and is two different forms.

Sono Ichi (Number 1)

Both clasp both hands in Futen Goshin Gassh and bow to each
other. Then both you and the Uke stand in Ichimonji no Kamae.
The Uke draws a short sword and stands in Dai Jodan no Kamae
with the short over the head. (one hand holds the short sword)
The Uke cuts down from above. Evade outside to the left with the
left foot and grab the Ukes right wrist lightly with your right hand.
The Uke kicks with the right foot.
Drop down low and scoop up under the Ukes leg with the right arm
while still holding the hand with the short sword.
Finish by ramming your right hand into the Ukes face and stepping
forward with the right foot in order to throw the Uke.
Then return to Ichimonji no Kamae and Zanshin.

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Gyokko Ryu Kosshijutsu

Sono Ni (Number 2)
Both clasp both hands in Futen Goshin Gassh and bow to each
other. Then both you and the Uke stand in Ichimonji no Kamae.
The Uke draws a short sword and stands in Jodan no Kamae with the
short sword over the head (one hand holds the short sword).
The Uke cuts down from above. Evade inside to the right with the
right foot and grab the Ukes right wrist lightly with your left hand.
The Uke kicks with the right foot.
Shift to the left with the left foot and sink low, then scoop up with
the right arm to catch the Ukes leg on your right shoulder.
Finish by ramming your right hand into the Ukes face and stepping
forward with the right foot in order to throw the Uke.
Then return to Ichimonji no Kamae and Zanshin.

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Gyokko Ryu Kosshijutsu

Shien (A Lion & A Monkey)


Kuden
The name of this technique means strength of a lion and cleverness
of a monkey. What is important here is when kicking the Ukes
right kick using keri kaeshi with your right leg, is to kick upward
using a spinning motion with your body.

Both clasp both hands in Futen Goshin Gassh and bow to each
other. Then both you and the Uke stand in Ichimonji no Kamae.
Stand in Hira no Kamae (Shizen no Kamae). The Uke draws the
short sword and prepares to thrust into your back from behind.
As the Uke thrusts, shift to the right to evade and lightly grab the
Ukes wrist from above with your left hand.
The Uke attempts to free himself by kicking with the right foot.
Respond by turning clockwise on the right foot to evade this, lift the
Ukes hand in Ura Gyaku and kick up with the right foot into the
Ukes Kobura.
With the left hand, catch the Ukes hand in Omote Gyaku. (This is
done in a similar manner to Renyo from the Joryaku no Maki).
Begin to turn the body anti-clockwise to prepare for the throw.
Pull the left leg back and drop to the left knee to throw the Uke with
Omote Gyaku.
Then stand and finish with a right kick to Wakitsubo.
Then return to Ichimonji no Kamae and Zanshin.

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Gyokko Ryu Kosshijutsu

Hraku (Cave-In)
Kuden
The name of this technique means a mountain that crumbles and
falls. It is important that when avoiding the Ukes thrust, pull your
left foot slightly back to close in the distance, and hug the Ukes arm
tight into your armpit.

Both clasp both hands in Futen Goshin Gassh and bow to each
other. Then both you and the Uke stand in Ichimonji no Kamae.
Stand in Hira no Kamae (Shizen no Kamae). The Uke draws the
short sword and prepares to thrust into your back from behind.
As the Uke thrusts, shift to the left to evade and hug the Ukes arm
under your right arm. Smash down to the Ukes hand with your left
palm in a manner similar to Take-Ori to make the Uke drop the short
sword.
Take hold of the Ukes wrist with the left hand and turn by pivoting
clockwise on the right foot until you are parallel to the Uke to
prepare for a Shuto.
Strike with Ura Shuto to the Ukes Kasumi (temple). This will put
the Uke off-balance. Stamp onto the Ukes right foot with your right
foot and grab the right shoulder with the right hand all at the same
time.
Drop back to the left knee and pull the shoulder to throw the Uke
face-down to the floor. This is done with a twisting motion. (Keep
the Ukes hand raised).
Finish by standing up, still controlling the Ukes hand, and stamp on
the Ukes head with your right foot.
Then return to Ichimonji no Kamae and Zanshin.

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Gyokko Ryu Kosshijutsu

Gyokko Ryu Kosshijutsu


(Jewel Tiger School Finger Bone Art)

Ge Ryaku no Maki

1.
2.
3.
4.
5.
6.
7.
8.

Shun U
Shun Soku
Ichi Geki
Kai Soku
K Ryaku
Iai F
Chingan
Fm

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Gyokko Ryu Kosshijutsu

Ge ryaku no Maki

Sanp Gassh

Jinryaku Hanno Funitsu no Gassho (Human Strategy Responsive


Seething and Overflowing Prayer)

The thumb (Ku ), and the ring finger (Sui ), of each hand touch,
and those of the left hand interlink with those of the right hand. The
rest of the fingers are straight and touching. They are held in front
of the chest. This Hanno Hon Itsu Gassho . Then
move the hands straight out in front of you until the arms are straight,
step back into Ichimonji no kamae.
Kuden: The meaning of Han-o Hangeki Gassho is to take advantage
of the opponent by not matching the opponents movements.
Have the expression of a prayer, naturally responding to all
movement, the same way that water can bring down a mountain.

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Gyokko Ryu Kosshijutsu

Shun U (Falcon Excellence)


This technique means to be swift like a falcon. You use this
technique for controlling the Uke at the instant that he tries to draw
his sword. What is important here is to thrust into the base of the
Ukes nose with a right boshi ken and at the same time press against
the grip of his sword with the left hand.

Both clasp both hands in Hanno Hon Itsu Gassh and bow to each
other. Then, you stand in Ichimonji no Kamae and the Uke steps
back with the right leg and prepares to draw his sword.
As the Uke steps forward with the right leg and begins to draw the
sword, step forward with the left foot slightly to the left and stop the
sword draw by blocking the sword handle with your left hand and
press.
At that instant, the Uke retreats with the left foot. As this happens,
take hold of the end of the Ukes sword handle with the left hand
and at the same time, step forward with the right foot and strike Uke
to Jinchu with a right Boshi Ken.
Pull back with the right leg and take hold of the sword handle with
your right hand. Carry on moving back with the right leg and draw
the Ukes sword, cutting edge up. Your finishing position should
resemble Ichimonji no Kamae with your right hand under your belly
button and your left palm supporting the back of the blade. The tip
of the sword points to the Ukes stomach.
Zanshin.

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Gyokko Ryu Kosshijutsu

Shun Soku (Falcon Feet)


This technique means to have footwork like that of a falcon. You ue
this technique for controlling the Uke at the instant he tries drawing
his sword. You must take a step in while you are pushing down the
sword handle with the left hand.

Both clasp both hands in Hanno Hon Itsu Gassh and bow to each
other. Then, you stand in Ichimonji no Kamae and the Uke steps
back with the left leg and prepares to draw his sword.
As the Uke steps forward with the right leg and begins to draw the
sword, step forward with the left foot slightly to the left and stop the
sword draw by blocking the sword handle with your left hand.
The Uke responds by striking down with the right fist to your left
hand. As the Uke does this, stoop low and push the sword handle
down, and at the same time, move with the right foot forward and
slightly to the right this movement prevents the Uke from
connecting with the strike to your hand.
Carry this movement on to pivot yourself clockwise on your right
heel so that you are side-by-side, and slightly further back than the
Uke. Within this movement catch the scabbard with your right hand
and the Ukes right wrist with your left hand.
The scabbard is against the Ukes arm just above the elbow. Drop
your weight and press on the arm with the scabbard while anchoring
the Ukes right hand at your hip to drop the Uke face down to the
floor.
Finish by kicking with the right foot to the Ukes side.
Zanshin.

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Gyokko Ryu Kosshijutsu

Ichi Geki (One Blow)


This techniques meaning is to knock down the Uke in a single
strike. What is important here is to is to push the Ukes right elbow
up high enough so as to create unbalance before the next movement.

Both clasp both hands in Hanno Hon Itsu Gassh and bow to each
other. Then, you stand in Ichimonji no Kamae and the Uke steps
back with the left leg and draws his sword.
The Uke stands in Seigan no Kamae.
The Uke then changes into Dai Jodan no Kamae. At that instant
jump in with the left foot forward and place your left hand onto the
Ukes right elbow press into the nerve point (Hoshi) with your left
thumb and press the elbow up to unbalance the Uke. Then, strike
downwards to the Ukes left Kimon with a right Boshi Ken. The
Uke will slump at this point and will be off balance. This should be
done all at once to take balance effectively.
Then, with your right foot, kick to the Ukes Suigetsu to drop the
Uke.
Finish in Ichimonji no Kamae.
Zanshin.
This technique should flow as one simultaneous attack - just as the
Uke is changing Kamae - jump, strike and then kick.

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Gyokko Ryu Kosshijutsu

Kaisoku (Superior Foot)


This technique means to have superior footwork. What is important
here is to knock the Uke over with O-Soto by means of putting the
leg down naturally after lifting it for O-Soto making the movement
as flowing as possible.

Both clasp both hands in Hanno Hon Itsu Gassh and bow to each
other. Then, you stand in Ichimonji no Kamae and the Uke goes
into Dai Jodan no Kamae.
As the Uke cuts down, shift to the left with the left foot to evade and
kick upwards to the Ukes right hand with the right foot. This will
knock the sword out of the Ukes hand.
The Uke goes to draw his short sword.
Step onto the Ukes right foot with your right foot and control the
Ukes right wrist with your left hand. At the same time, strike to
kasumi with a right shuto.
Then, put your right hand between his right arm and his body to grab
his shoulder you are still controlling the right wrist with your left
hand. This movement will release the Ukes hand from the short
sword.
Now, you open the Ukes right hand out into Omote Gyaku with
your left hand and hold the Ukes shoulder with your right hand, and
at the same time, kick the Ukes right leg away with a right O-soto.
Pin the Uke.
Return to Ichimonji no Kamae.
Zanshin

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Gyokko Ryu Kosshijutsu

Kryaku (Scoop Up Water & Sweep Over)


This technique means to scoop or snatch away. It is important to
keep your right arm a touch lower when using your body for sutemi.

Both clasp both hands in Hanno Hon Itsu Gassh and bow to each
other. Then, you stand in Ichimonji no Kamae and the Uke goes
into Dai Jodan no Kamae.
The Uke cuts down from Dai Jodan. Evade to the right and cover
the top of the Ukes right hand with your left hand. Shift your
weight to the left as you reach to grab the Ukes right elbow with
your right hand. Apply pressure as though wringing the arm out to
lock the arm, and then throw your body down to the left (your right
leg passes the Ukes right leg) for Sutemi. (as you are throwing your
body down, pull the Ukes arm to your stomach).
Immediately get back up and return to Ichimonji no Kamae.
Zanshin.

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Gyokko Ryu Kosshijutsu

Iai F (Sealing The Sword Draw)


The meaning of this technique is to match the Ukes energy and to
envelop him. The important point here is to keep your left fist
directly above your head when you approach the Uke so that your
head is protected from being hit with the handle of the sword.

Both clasp both hands in Hanno Hon Itsu Gassh and bow to each
other. Then, you stand in Ichimonji no Kamae and the Uke
immediately draws the sword for a horizontal cut to your stomach.
Evade this by leaping back (still in Kamae).
The Uke then enters into Dai Jodan no Kamae.
Immediately step back in with the right foot and cover with you
right fist just in front of your forehead / above your head, and
simultaneously strike the Ukes left Kimon with a right Boshi Ken.
Next, kick the Uke to Suigetsu with the right foot to knock the Uke
down.
Return to Ichimonji no Kamae and Zanshin.

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Gyokko Ryu Kosshijutsu

Chingan (Wild Goose Sinking)


The name of this technique means to lower your posture like a wild
goose sinking. What is important here is to make sure you get low
enough when turning to the left and sinking down, then build up
your strength for the next movement.

Both clasp both hands in Hanno Hon Itsu Gassh and bow to each
other. Then, you stand in Ichimonji no Kamae and the Uke stands in
Seigan no Kamae. Enter into Han No Honitsu No Kamae (sink the
body down low with the hands out forwards, left leg is in front) The
body is similar to Jumonji no kamae with the body facing forwards.
The hands are in the Inzo. The middle and ring finger bend to touch
the thumb. The index and little fingers are straight out pointing. The
leading hand has the hand thumb on top.
The Uke attacks with Chudan Tsuki.
Evade to the left while keeping low, and as the attack flows past you,
keep your hands in the Inzo and point them at the Ukes hands.
Then, with your left hand on top and your right hand underneath,
cup he Ukes hands and raise the Ukes hands above your head (do
not extend your arms fully) and at the same time, bring your right
leg to a position where you are in front of the Uke (keep your
posture low).
Then, pull your left leg back and around counter-clockwise and pull
the Ukes hands to throw the Uke. Finish with a right kick to the
Ukes side. Return to Ichimonji no Kamae.
Zanshin.

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Gyokko Ryu Kosshijutsu

Fm (Big Wind)
This technique means big wind. What is important here is the right
and left hands make large and simultaneous opening movements
when taking the sword away.

Both clasp both hands in Hanno Hon Itsu Gassh and bow to each
other. Then, you stand in Ichimonji no Kamae and the Uke goes
into Dai Jodan no Kamae.
As the Uke cuts down, evade to the left as in the last technique.
With your right hand, gently grasp the handle of the sword between
your index finger and your middle finger just behind the Tsuba .
At this point, strike with a left Shuto to the Ukes eyes. This will
release the sword from the Uke.
Then, take the sword handle with the left hand also and, with a big
movement, step to the left with the left foot and slice the Ukes
somach. For training purposes, step back with the left foot instead
so that the cut misses the Uke.

Takamatsuden Books 2010

KUKISHINDEN RYU
DAKENTAIJUTSU

KUKISHINDEN RYU DAKENTAIJUTSU - 1

KIHON KAMAE KATA


(Goho no kamae)

1. HIRA NO KAMAE
The feet are apart, approx shoulder width. Both hands are in Fudo Ken, and palms facing the
body they both rest just on the inside near the hips

2. HIRA ICHIMONJI NO KAMAE


The body is the same as Hira Ichimonji no Kamae. The arms are out stretched to the side of the
body.

3. SEIGAN NO KAMAE
The body is side on to Uke. The left hand points at Ukes eyes, the right hand in Shikan Ken, rests
on the heart.

4. KATATE HICHO NO KAMAE


Same as Seigan no Kamae, excpet the right hand is open. The left foot, can come back near to
the right foot.

5. KOSEI NO KAMAE
The left hand is open above the eyes. The right hand is by the heart in Shikan Ken.

KUKISHINDEN RYU DAKENTAIJUTSU - 2

SHODEN NO KATA
1. SEION
Uke holds Tori in Kumi Uchi. Tori hold the collar, and the elbow. The right thumb, presses into the
nerve in the side of the neck, and the thumb of the left hand, presses into the nerve in the elbow.
Tori shifts the left foot to the left, and places the right foot, against the hip. Pressing the nerves,
pushing out the foot, and turning Anti clockwise Tori throws Uke onto his back.

HENKA
Instead of placing the foot on the hip, Tori places it behind Ukes Right leg, and throws him.

2. SUIYOKU
Uke strikes from Seigan with a right Jodan tsuki. Tori is in Hira, and moves back into seigan, and
a left Jodan Uke. Uke then strikes with a left Jodan Tsuki, Tori does a right Jodan Uke, and grabs
the wrist after the block. Uke does a right kick, Tori responds with a left Gedan Uke, and straight
up to strike Kirigasumi, with a left Boshi Ken. Tori then steps forward with the right foot, and kicks
with the left to Ryuge. With draw the right leg to kneel and Uzimaki.

NOTE
Kirigasumi - below the ear

Ryuge - ankle bone outside calf

3. SUISHA
Uke does a right Jodan Tsuki, Tori does a left Jodan Uke (Daken Style), and ducking low strikes
to Nasai. Uke then strikes with a left jodan Tsuki, and a right jodan Tsuki. Tori does a right then
a left jodan Uke grabbing the wrist with the final block. Tori then kicks the left leg with his right
foot to Sai. Tori then grabs the neck, and finishes with Uchi Mata

NOTE
Nasai -

Sai - Thigh

4. KUBI WA
Uke does a right Jodan Tsuki, and a left Keri. Tori is in seigan, and does a left Jodan Uke, and
grabs the wrist, and a right Gedan Uke, with a right Boshi ken from the inside to Ryumon. Tori
then takes hold of the neck, and twists Uke down to the left, by stepping back with the left leg.
Tori then applies a lock to the arm with the knee, and re-applying the Boshi ken

NOTE
Ryumon - Hollow on top of the shoulder.

5. HOSETSU
Uke strikes with a right Jodan Tsuki, Left Jodan Tsuki, right keri. Tori, does a left Jodan Uke, right
Jodan Uke, and a right Fudo Ken to Nasai, and grabs the last striking wrist. Uke then does a right
Jodan tsuki. Tori lifts the wrist he holds, and grabs the arm with his left arm, swings it out to the

KUKISHINDEN RYU DAKENTAIJUTSU - 3

right to stop the Jodan Tsuki. Switch hands on the wrist, and apply a choke with the right hand,
turn the boy so that you can start a seio Nage. Uke pulls away. Tori goes under and throws with
Ippon seio Nage.

6. ISO ARASHI
Uke grabs the collar with his left hand, and a right strike. Tori in a form of Kosei, does a left Jodan
Uke. Uke then does a right kick, and Tori does a left gedan Uke. Tori locks the hand on the collar, and strikes to the face with a left Shako ken. Tori steps back with the right foot, and does Uzi
maki, lock the hand on the knee to finish.

7. FU BUKI
Uke starts the same as Iso Arashi. The defense is the same, but take the hand in Omote Gyaku.
Take hold of the elbow with the left hand, and force it upwards, and kick to right Nasai. Turn under
the arm to throw with Seio Nage.

8. KATA HO
Uke does a right then a left Jodan Tsuki, and right keri. Tori does a left, then right Jodan Uke.,
and a right Fudo ken to Nasai. Uke then does a left Keri, and tori responds with a left Fudo ken
to Nasai. Uke then does a right Jodan Tsuki. Tori blocks with Jumonji Dori, and applies Oni
Kudaki. Tori then steps out to the side and does Osoto Gari. Straddle Uke, and lock the arm.

9. TATSUMAKI
Starts the same as Kata ho, until the last right Jodan Uke. Tori applies the Jumonji Dori, but Uke
strikes with a left Jodan Tsuki. Tori steps to the side, and does a Jodan Uke to Uko, with omote
Shuto. Tori then takes hold of Daimon, steps out, and kicks with Kakato keri (backward hook) to
the hip ot upper thigh. Tori kneels, and pulls Uke down across the hips.

KUKISHINDEN RYU DAKENTAIJUTSU - 4

CHUDEN NO KATA
1. URA NAMI
Uke is in Seigan no Kamae, Tori is in Hira no kamae. Uke strikes with a right Tsuki, and a left
Jodan Tsuki. Tori does a left Jodan Uke, and a right Jodan Uke. Uke then follows with a right
Keri. Tori steps forward 45 degrees to the right, and strikes into Ukes right thigh with a left Gedan
Uke. Uke follows Tori, and strikes with a right Jodan Tsuki. Tori does a Jumonji Dori and applies
a Oni Kudaki, and kicks with the right foot, to Ukes stomach. In the same motion Tori drops the
right foot, behind Ukes right foot, and drops with the Oni Kudaki.

2. TEN CHI
Uke is in Seigan, Tori is in Hira Ichimonji. Uke does a right Jodan Tsuki, Left Jodan Tsuki, right
Jodan Tsuki, and a right keri. Tori does left Jodan Uke, right Jodan Uke, Left Jodan Uke, Tori
steps to the outside of the kick, and strikes with a left fudo ken into the thigh. This turns Uke
round to the left. As he comes back to face Tori he strikes with a right Jodan Tsuki. Tori shifts to
the left, to the out side of the Tsuki, using Jumonji Dori. Tori takes hold of the arm, and pulls it
down be hind Ukes back. Tori makes Uke bend forwards, and steps a little forward with the left
foot, and kicks the chest with the right foot. Tori then drops to the left knee, and pulls Uke down
to the ground.

3. KATA NAMI
Uke is in Seigan, Tori is in Hira Ichimonji. Uke does a right Jodan Tsuki, and a right keri. Tori does
a left Jodan Uke, and steps forward with the right foot, turns to the left, and strikes with a right
Fudo ken into the thigh. Uke then does a right Jodan Tsuki. Tori grabs the sleeve with his left
hand, and the collar with the right hand. Tori steps with the right foot, and throws with Osoto
Nage.

4. KASUMI GAKE
Uke is in Seigan, and Tori is in Hira. Uke does a right Jodan Tsuki, and a right keri. Tori does a
left Jodan Uke, steps forward to the right, and turning to the left strikes with the right hand with
a fudo ken into the thigh. Uke does a right Jodan Tsuki. Tori grabs the sleeve with his left hand.
The right hand strikes Ukes right a shoulder, then moves down to grabs Ukes right elbow. Tori
then pulls the elbow so that it bends. When the elbow is bent the forearm is vertical. Tori turns
under the arm, and throws with Osoto Nage.

NOTE
The bent arm is the same angle as for Musha Dori or Oni Kudaki.

5. TATSU NO SE
Uke is in Seigan, Tori is in Hira Ichimonji. Uke dopes a right Jodan Tsuki, and a right Keri. Uke
does a left Jodan Uke, and a left Gedan Uke. Uke does a right Jodan Tsuki. Tori turns to the right

KUKISHINDEN RYU DAKENTAIJUTSU - 5

and grabs the elbow sleeve with the left hand. Tori turns his hand over to the left, and down so
that Ukes hand rests on Toris forearm. Uke then grabs Toris elbow sleeve, and steps forward
with the left, and the right to the outside of Tori. Toris right hand comes down, and strikes him in
the thigh, making him release his grab. Tori then switches his grab from the right arm to the left
arm. Tori barrs the arm vertical to the body. Tori places his right hip against Ukes right hip, and
throws him.

6. SHIO KAZE
Uke is in Seigan, Tori is in Hira. Uke strikes with a right Jodan Tsuki, and a right Keri. Tori does
a left Jodan Uke, and a left Gedan Uke to Kaku. Uke does a left Jodan Tsuki. Tori does a right
Jodan Uke to Hoshi, or Nagare. Tori with his right hand grabs Uke from above the backside of
Uke right Bicep. At the same time Tori applies a Ura Gyaku with the left hand, and a keri to the
right Koe. Tori drops Uke forwards.

NOTE
If he resists come back up, and knee him in the chest or face then drop him forwards.
Kaku - Knee Hoshi - inside elbow Koe - Side of the groin

7. YAMA ARASHI (Mountain storm)


Uke grabs the collar with the left hand, and a right Jodan Tsuki. Tori steps back to the left 45
degrees, and does a right Jodan uke to Jaku kin. The right hand checks the grab from underneath. Tori applies a Ura Gyaku with the left hand, and walks under the arm with Yoko Aruki, at
the same time striking to Butsumetsu with the right elbow as he passes. Tori walks behind Ukes
back locking his arm behind him. Tori then kicks into Buda with the right foot, and steps back with
the right foot, taking Uke down, so that he falls onto his arm breaking it.

NOTE
Buda - middle of the calf Jaku kin - Inside bicep (middle of)

8. YANAGI KAZE
Uke grabs the collar with the left hand, and strikes with a right Jodan Tsuki. Tori checks the grab
with the right hand, and steps back 45 degrees to the right, with a left Jodan Uke to Jaku kin.
The right hand then strikes with Fudo ken, or Oshu to Butsumetsu. At the same time as the strike.
Tori grabs Ukes left arm with the left hand, at the same place as the Jodan Uke. With the right
hand Tori grabs the Butsumetsu, and brings Uke to his toes, and throws him, in the same way
as doing Omote Gyaku.

9. TATSU NAMI
Uke grabs the collar with the left hand, and does a right Jodan Tsuki. Tori checks the grab, and
strep back to the right 45 degrees, with a left Jodan Uke. Tori then grabs the grabbing hand with
his right hand, and turns it to the right so that Toris elbow locks it open. Tori steps with the right
foot, and turns so that the knee comes to the ground. Tori then throws Uke to the ground with
Omote Gyaku.

KUKISHINDEN RYU DAKENTAIJUTSU - 6

10. KOBI
Uke grabs the collar with the left hand, and strikes with the right. Tori steps back 45 degrees, and
does a left Jodan Uke Tori then applies a Omote Gyaku hold to Ukes grabbing hand, and the left
hand grabs Ukes left elbow. Tori then steps back with the left foot, then kicks with the left foot, to
Yaku, and steps through. From the Omote Gyaku Tori strikes from under the arm with the right
hand to Asagasumi with Oshu,knocking Uke to the ground. Toris knee should be on Ukes Suzu,
and the right elbow on Dokotsu, as you roll over him

NOTE
Oshu - open palm strike. Dokotsu -

Suzu - groin

11. JUGAN
Uke grabs the collar with the left hand, and strikes with the right hand. Tori steps back 45 degrees
to the right, and a left Jodan Uke. Tori applies a Take Ori with the right hand to the grabbing hand.
With the left hand Tori grabs the elbow of the grabbing hand. Tori drops his weight then comes
up as if rolling a stone (to Ukes arm), knocking him to the ground.

12. SHIHO DORI (Four way capture)


TRNT P. 228
Uke strikes with a right Jodan Tsuki, Tori does a left Jodan Uke to the wrist. Uke then grabs Toris
collar with the left hand. Toris left arm comes up in front of his body, and with the right arm applies
Oni Kudaki to the grabbing arm. Tori then does Yoko Aruki to the left, and moves the right foot,
behind Ukes left leg. Then stepping back with the right leg, and straightening Ukes arm, Tori
bring Uke to the ground.

NOTE
For the take down walk in the direction his left leg points.. If the Oni Kudaki fails change to Omote
Gyaku, if he tries to escape, change the technique to Yume Makura.

KUKISHINDEN RYU DAKENTAIJUTSU - 7

SABAKI GATA
1. ARA KOMA (Hard Horse)
Uke grabs the collar with the left hand, and strikes with the right. Tori steps back with a left Jodan
Uke. Tori checks the grab with the right hand, and then turns it into Omote Gyaku, but hold the
hand close to the body. Tori steps in with the right foot, and strikes with a left Boshi Ken to Shada
Somi. Tori then steps back with the right foot, with the Boshi ken still applied. This pushes Uke
to the ground. Keep the Boshi ken in place to restrain.

NOTE
Shada Somi - below the ear

2. SHIKA ASHI (A.K.A. Kasoku) (Bear Foot)


Uke grabs with the left hand, and kick with the right foot. Tori checks the grab, and steps to the
right, and a left Gedan Uke.Uke then does a right Jodan Tsuki. Tori does a left Jodan Uke to
Hoshi, and kick with the right heel o the inside of his right knee, or calf, and turns the heel over,
and kicks the same area on the left leg.

NOTE
For the final heel kick keep the hips back.

3. CHIKUSEI
Uke strikes with a right Jodan Tsuki, and a left Jodan Tsuki. Tori blocks first to the wrist, and second to Hoshi. Uke then does a right keri. Tori does a left Gedan Uke to the ankles. Uke immediately does a right Jodan Tsuki. From the Gedan Uke, Tori does a left jodan Uke to jaku kin. From
under the arm Tori strikes with a right Oshu Ken to Butsumetsu (the right leg is in front). Tori then
grabs the butsumetsu, and brings Uke up on to his toes, and at the same time grabs the flesh
on the upper arm with the left hand. Tori turns Uke, by pressing Butsumetsu, and pushing the
arm. this also makes Uke bend backwards. With the right hip Tori throws Uke with Harai Goshi.
Tori also drops his body weight as he throws. Place the knee into the ribs when Uke is on the
ground.

NOTE
Careful when doing the Harai Goshi, as Uke can land on the knee, and break their back

4. YUME MAKURA (Dream pillow)


TRNT P. 178
Uke does a right Jodan Tsuki, Left Jodan Tsuki, right Zenpo Keri, right Jodan Tsuki. Tori responds
with a left Jodan Uke, right Jodan Uke, left Gedan Uke, and finally with a right Jumonji dori. Toris
left hand takes hold of Ukes right wrist, and the left hand takes Ukes elbow.. Tori steps back and
brings the arm into a form of Oni Kudaki. Tori then changes the grab from backwards to forwards,
and pushes on the elbow, and pulls on the wrist so that his arm opens straight. Tori holds Ukes
straight arm against his chest, and falls backwards taking Ukes arm with him. Tori then rolls over
Ukes back, and holds him in O Gyaku

KUKISHINDEN RYU DAKENTAIJUTSU - 8

5. SUSO SABAKI
Uke does a right Jodan Tsuki, and a left Jodan Tsuki, right Keri, and a right Tsuki. Tori does a left
Jodan Uke, Right Jodan Uke, Left Gedan Uke, Left Jodan Uke. From the block move outside of
the hand, and take hold of the wrist in Ura Gyaku with the right hand from above. The left hand
grabs the flesh on the shoulder, and the body turns to the right to the arm. Toris right leg steps
over Ukes right leg, and Tori attempts to throws him. Uke does not let himself be thrown Tori
counters this by stepping back with the left leg, and applying pressure to the shoulder (Ryumon)
with the wrist, and a Take Ori moving up and down to break the wrist.

6. ISO GAESHI
Uke does a right Tsuki, Left Jodan Tsuki, right Keri, right Jodan Tsuki, another right Jodan Tsuki.
Tori does a left Jodan Uke to Kote, right Jodan Uke to Hoshi, left Gedan Uke to kaku, followed
by a right Fudo ken to kaku, left Jodan Uke to Kote. Toris right hand applies a Omote Gyaku from
the Fudo ken from underneath (keep the Omote Gyaku close the body). Tori then walks in with
the right foot, and the right elbow is on top of Ukes right elbow. Tori then steps out with the right
foot, and presses down with the right elbow, dropping Uke.

7. KAZE HARAI
Uke grabs with the left hand, and strikes with the right. Tori places his right palm under Ukes
elbow, and presses up, and a left Jodan Uke to Jakkin,or wakiboshi. Uke then does a right keri.
Tori hand moves from the elbow to the hand, and Tori does a Gedan Uke. Uke does a right Jodan
Tsuki. As Uke strikes Tori changes from a right to a left Ura Gyaku, and strikes with the right
elbow to Uko, or Butsumetsu. Tori then walks under the arm (still keep Ura Gyaku), until Tori is
behind Uke. Tori places his right hand on Ukes shoulder. Tori then kicks Uke with Sokushi keri
to Buda.
x
Uke grabs the collar with the left hand, and strike with a right Jodan Tsuki. Tori checks the
elbow,and pushes up on it, and does a left Jodan Uke.Tori does a right keri. Tori changes from
a elbow to a hand check, and a left Gedan Uke. Uke then does a right jodan Tsuki. Tori does a
left Jodan Uke, and grabs the wrist. Tori steps across the to left with his right foot. The right hand
come under the grabbing arm, so that the shoulder or right bicep, presses against the elbow, and
apply pressure in this way to drop Uke.

NOTE
Do not let the grabbing hand turn or you could lose control.

9. KIMON
Uke is in Seigan, Tori is in Hira. Uke does a right Jodan Tsuki, Left Jodan Tsuki, right Keri, left
Jodan Tsuki. Tori does a left Jodan Uke, right Jodan Uke, left Gedan Uke, right Gedan Uke.
Immediately after the last block, Tori applies a Musha Dori, to Ukes left arm, and spins around
onto the left knee, and drops Uke onto their back

KUKISHINDEN RYU DAKENTAIJUTSU - 9

10. URA KIMON


This starts the same as Kimon, but with two kicks, then a left Jodan Tsuki. Tori immediately
applies a right Oni Kudaki to Ukes left arm, and kicks with the right foot, to Ukes groin. Finish
with Osoto Gake or Nage.

11. UKI NO
Uke is in Seigan, Tori is in Hira. Uke does a right Jodan Tsuki, left jodan Tsuki, right Keri, left Keri,
right Jodan Tsuki. Tori does the Ukes. Tori immediately applies a Oni kUdaki to the right arm,
and kicks with the right foot to the groin. Tori the grabs the collar with the right hand, turns and
throws with seio Nage, or applies a Shime waza

12. RAN PUU


This starts the same as Uki No. Tori applies a Oni Kudaki to the right arm, and kicks with the right
foot, into the groin. Tori grabs Uke in Kumi Uchi, and throws with Seio Nage. While Uke is still in
the air. Tori steps from under Uke for Taki Otoshi.

KUKISHINDEN RYU DAKENTAIJUTSU - 10

OKUDEN NO KATA
1. FU SETSU
Uke does a right Jodan Tsuki, Left Jodan Tsuki, right Keri, Left Keri. Tori responds with the Uke.
For the last Keri Tori strikes with a Fudo Ken into the leg. Uke then does a right Jodan Tsuki. Tori
blocks with Jumonji Dori, and applies Oni Kudaki. Tori straightens the arm, and Goes underneath
anti clockwise (take hold of Ukes shoulder with the left hand). Tori then kicks with a right Kakato
Keri to Ukes inside right thigh, then steps back with the right foot, to throw Uke face down.

2. GONGI
Uke strikes with a right Jodan Tsuki, left Jodan Tsuki, Right keri, left Keri. Tori responds with the
Uke. For the last Keri to punches with a Fudo ken into the thigh. Uke then does a right jodan
Tsuki. Tori then does a Jumonji Dori to Ukes right arm, and applies Oni Kudaki. Tori then does a
right kick to Ukes groin. Tori places his right foot between Ukes legs, drops to the left knee, and
pivots on it to the left throwing Uke with the Oni Kudaki still applied.

3. KAESHI WAZA
Uke does a right Jodan Tsuki, left Jodan Tsuki, right Keri, left Keri. Tori responds with the Uke.
For the last Keri Tori strikes with Fudo ken into the thigh. Uke then strikes with a right Jodan
Tsuki. Tori applies a Jumonji Dori, and applies Oni Kudaki. Tori then switches this to Musha Dori.
Tori then kicks back with a right Kakato keri to Ukes stomach. Tori then drops the foot down, and
spins around to the right (going down). and applies a Shime waza.

4. ONI OTOSHI
Uke does a right Jodan Tsuki, left Jodan Tsuki, right Keri, left Keri. Tori responds with the Uke.
For the last Keri Tori strikes with Fudo ken into the thigh. Uke then strikes with a right Jodan
Tsuki. Tori applies a Jumonji Dori, and applies Oni Kudaki, which is then changed to Musha Dori.
Tori kicks with the Shin to Ukes groin, the same leg the throws with Osoto Nage.

5. IWA KUDAKI
Uke does a right Jodan Tsuki, left Jodan Tsuki, right Keri, left Keri. Tori responds with the Uke.
For the last Keri Tori strikes with Fudo ken into the thigh. Uke then strikes with a right Jodan
Tsuki, Tori blocks with a left Jodan Uke, and a right Chin Ken to the face. The left hand at the
same time grabs the wrist. Tori places his hips near Ukes, and throws with Osoto Nage.

NOTE
Slam the hips in hard

6. SETSU TO
Uke does a right Jodan Tsuki, left Jodan Tsuki, right Keri, left Keri. Tori responds with the Uke.
For the last Keri Tori strikes with Fudo ken into the thigh. Uke then strikes with a right Jodan

KUKISHINDEN RYU DAKENTAIJUTSU - 11

Tsuki, Tori does a left Jodan Uke, and grabs the wrist, as the right hand strikes with Fudo Ken
into the right bicep. Tori then does a right shin kick to Ukes groin, and pushes Ukes arm in, and
down, whilst grabbing the shoulder with the right hand. Tori then steps back with the left foot, and
down to the knee, pulling Uke with him.

7. GOTO
Uke does a right Jodan Tsuki, left Jodan Tsuki, right Keri, left Keri. Tori responds with the Uke.
For the last Keri Tori strikes with Fudo ken into the thigh. Uke then strikes with a right Jodan
Tsuki. Tori applies a left Jodan Uke, and grabs the wrist. Tori then grabs Ukes right shoulder with
the right hand. Tori steps in and under, knocking Uke up with a hip strike, and then stepping out
to the left so that Uke falls.

8. DOFU
Uke does a right Jodan Tsuki, left Jodan Tsuki, right Keri, left Keri. Tori responds with the Uke.
For the last Keri Tori strikes with Fudo ken into the thigh. Uke then strikes with a right Jodan
Tsuki. Tori applies a left Jodan Uke, and grabs the wrist. Tori keeps this arm straight whist he
strikes with a right Ura Shuto to Kasumi. Tori then kicks with the shin into Ukes groin, and continues the foot through between the legs, and hooks Ukes furthest leg up.

NOTE
Grab the shoulder with the right hand, and push whilst sweeping the foot away. Ukes right palm
must be up to stop the arm from hitting you.

9. ONI KUDAKI
Uke does a right Jodan Tsuki, left Jodan Tsuki, right Keri, left Keri. Tori responds with the Uke.
For the last Keri Tori strikes with Fudo ken into the thigh. Uke then strikes with a right Jodan
Tsuki. Tori applies a Jumonji Dori, and applies Oni Kudaki. Tori then does a shin kick to the groin,
and places it behind Ukes right leg for Osoto Gake.

NOTE
For the final throw turn to the left. Be careful
This is almost exactly the same as Ura Nami from the Chuden no kata

10. YANAGI KAZE


Uke does a right Jodan Tsuki, left Jodan Tsuki, right Keri, left Keri. Tori responds with the Uke.
For the last Keri Tori strikes with Fudo ken into the thigh. Uke then strikes with a right Jodan
Tsuki. Tori applies a left Jodan Uke. Uke then grabs Tori and attempts seio Nage. Tori drops his
hips, and strikes Uke with Boshi Ken in Shichibatsu. Tori then jumps around to the front of Uke,
and strikes with the right elbow into Ukes chest. Tori then takes hold of Ukes left arm with the
right hand. Toris left hand comes up under Ukes right arm, and grabs the collar. Tori then goes
under Ukes right arm, and throws with Nagare. Tori kicks Uke when he is dow.

KUKISHINDEN RYU DAKENTAIJUTSU - 12

11. TACHI UCHI


Uke does a right Jodan Tsuki, left Jodan Tsuki, right Keri, left Keri. Tori responds with the Uke.
For the last Keri Tori strikes with Fudo ken into the thigh. Uke then strikes with a right Jodan
Tsuki. Tori does a left Jodan Uke. Uke then grabs Tori and attempts to throw with Seio Nage. Tori
drops his hip and strikes with Boshi Ken to Shichibatsu. With the Boshi Ken Tori pushes Uke
away, and goes behind him, and grabs the flesh at Butsumetsu. Tori then turns and throws Uke.

NOTE
For the Butsumetsu grab, dig the thumbs in. Throw from the side so he will not fall off. Beware
of this technique, as the throw will break the neck.

12. HANE OTOSHI (Leaping knock back)


Uke does a right Jodan Tsuki, left Jodan Tsuki, right Keri, left Keri. Tori responds with the Uke.
For the last Keri Tori strikes with Fudo ken into the thigh. Uke then strikes with a right Jodan
Tsuki. Tori applies a left Jodan Uke. Uke grabs Tori, and attempts Seio Nage. Tori drops the hips,
and applies Boshi Ken to Shichibatsu. Uke then turns to face Tori, who then strikes with Ryote
Koppo ken to Ukes Uko. This makes Uke arc his back. Tori throws with Osoto Nage.

KUKISHINDEN RYU DAKENTAIJUTSU - 13

SHIRABE MOGURI GATA


1. MOGURI DORI
Uke does a right Jodan Tsuki. Tori blocks with a left Jodan Uke. Uke then grabs Toris blocking
wrist. Tori steps in with a right keri. As this comes to the ground, Tori steps in with a the right foot,
and a right Ura Shuto to Uko. Tori then places the right foot behind Ukes right foot, and placing
the hips together, throws Uke.

2. SHARIN
Defense against Moguri Dori.
As Tori places his hip to throw. Uke pushes his right thigh up under Toris thigh. The right hand
then comes up to the neck, and the left goes around the back to grab Toris left Shichibatsu. Uke
then drops to his left knee pulling Uke over it, using the hands to help him.

NOTE
For then technique to work properly Uke, and Tori must be in a straight line.

3. KO FUKI

4. RYU FUKU
Uke strikes with a right Jodan Tsuki, and a left Jodan Tsuki. Tori does a left Jodan Uke, and a
right Jodan Uke, and then grabs the collar with the right hand (with a right step forward), and the
left hand grabs the right sleeve. Uke grabs Tori in the same fashion, and attempts to throw with
Seio Nage. Tori drops his body weight, and does a right fudo Ken into Uke groin, followed by a
right Fudo Ken into the top of the right thigh, at the same time a left Fudo ken into the back of
the ribs. Pull Uke into a standing position. Tori grabs Ukes left bicep with the right hand, and the
right bicep with the left hand. Tori then does a Kikaku Ken to the chest. Toris right leg goes inside
of Ukes legs, hooking back on the left leg, and pushes Uke to the ground.

5. TOBI CHIGAE
Uke does a right Jodan Tsuki. Tori does a left Jodan Uke, and then moves to the outside of Uke,
and does another Jodan Uke (right) to the back of Ukes hand. Tori then steps on Ukes right foot,
with his right foot. With Ukes right arm away from Tori (across the front of Ukes body). Tori strikes
with a right Boshi ken to Ukes Butsumetsu

6. YAMA OTOSHI
Uke does a right Jodan Tsuki. Tori does a left Jodan Uke, and then grabs hold of the wrist. Tori
places his right hand on Ukes left Shoulder, and pushes his thumb into the neck. Tori turns his
right hand into Shako ken n the face, and step behind Ukes right eg with his right leg. Tori then
throws Uke, keeping hold of the wrist with the left hand.

KUKISHINDEN RYU DAKENTAIJUTSU - 14

7. TO RYAKU
Uke holds Tori in Kumi Uchi (left hand holds the collar). Tori checks the collar grab with the right
hand, and holds the arm with his left hand. Tori steps to the right, and drops the right hand down
under Ukes left arm. The right hand comes up and the palm is placed under the elbow. Tori Yoko
Arukis to the right, and the left hand grabs the bicep of ukes left arm. Tori then steps back with
the left foot, and then drops to the left knee, pulling Uke down onto his front

8. SHO TO
9. MUSA SABI
Uke strikes with a right Jodan Tsuki. Tori does a left Jodan Uke. Uke counters this by moving his
right arm, under Toris left arm, for Ganseki Nage. Tori strikes Uke in the right Koe with a right
Boshi Ken. Uke steps out with the right leg to escape the Boshi Ken. Tori grabs Ukes right wrist
with the left hand, and the right shoulder with the right hand. Tori then kick Uke in Suzu with the
right foot. From the kick Tori places the right foot on Ukes right knee (inside). Tori pulls the wrist,
and pushes the shoulder, and kicks the leg away for Uchimata.

10. TAMA NAGE


Uke strikes with a right Jodan Tsuki. Tori does a left Jodan Uke. Uke continues his Tsuki by moving his right arm under Toris for Ganseki Nage. Tori counters by striking Uke in the right koe with
a right Boshi Ken. Uke steps out with the right foot to escape the Boshi Ken. Tori grabs Ukes
right wrist with the right hand, from under neath in Omote Gyaku, and grabs the right elbow with
the left hand. Whilst putting pressure on the elbow, Tori changes the Omote Gyaku to Ura Gyaku,
and grabs the top of the breast bone with the right hand. Tori steps behind the right leg for Osoto
Nage.

NOTE
If changing the hands is too risky, throw instead with Gyaku Nage.

11. GYAKU NAGE


Uke strikes with a right Jodan Tsuki. Tori does a left Jodan Uke, and immediately grabs the wrist
with his left hand, and the right shoulder with his right hand. Tori then tries to kick Uke in Suzu.
As he does this Uke does a left Jodan Tsuki. Tori steps back with the right foot (from the kick),
and does a right Gedan Uke. Tori then grabs the back of Ukes right hand with his right hand. Tori
strikes with a left Shitan Ken to Ukes face. Uke now has his right hand free, and blocks with a
right Jodan Uke. Uke strikes with a right Jodan Tsuki. Tori does a left Jodan Uke, and grabs the
wrist with the left hand. From the left wrist grab Tori strikes with the left hand to Jinchu with Shitan
Ken. Toris then places the right leg behind Ukes right leg for Osoto Nage.

12. UCHI HARAI


Uke attacks with a right Jodan tsuki. Tori does a left Jodan Uke, followed by a Shitan Ken to ukes
face. Tori then steps forward with the right foot, and strikes with a right Shitan Ken to Ukes face.
Tori does a right Zenpo Keri. Uke does a left Gedan Uke, and a right Jodan Tsuki. Tori applies a
left Jodan Uke, and a left Shitan Ken to Ukes face, Tori quickly steps forward with the right foot,
and strikes with a right Fudo ken to Ukes Butsumetsu. Toris right arm moves under Ukes left
arm, and the left hand grabs Ukes right arm, the right foot goes behind Ukes right foot, and
throws.

KUKISHINDEN RYU DAKENTAIJUTSU - 15

KUKISHINDEN RYU
HANBOJUTSU

KUKISHINDEN RYU HANBOJUTSU - 1

KAMAE
1. KATATE YABURI NO KAMAE
Stand in Shizen, with the Hanbo held in both hands in front of the body.

2. MUNEN MUSO NO KAMAE


Stand in Shizen with the Hanbo held at the top in the right hand. Bottom end is on the ground.

3. OTONASHI NO KAMAE
Same as Katate Yaburi no kamae, except that the Hanbo is held behind the body.

REIHO
1. SHINZEN REI
Hold the hanbo on the right hand side of the body, pass to the left hand, and raise both hands.
Hold the arms out stretched, at shoulder height, and bow.

2. SEIZA REI
From the right hand pass the Hanbo to the left Hand. Drop to the left knee, and place the hanbo
on the ground at the side of the body, drop to seiza. Left, and right hand on the ground, and bow.

3. JINCHU REI
Hanbo ion the right hand, drop to the left knee, left hand on the floor in Fudo Ken. Slightly bend
the elbow. Hold the hanbo along the length of the arm, and bow.

4. RITSU REI
Stand in Munen Muso no Kamae. To Katate Yaburi no Kamae, and bow.

KUKISHINDEN RYU HANBOJUTSU - 2

SHODEN NO KATA
Tori is in Katate Yaburi no kamae.
Uke attacks with a Shoto.
1. KATATE UCHI
Uke has the shoto in his right hand and steps forward with his left leg and grabs toris collar with
his left hand. Uke then steps forward with his right leg and executes a tsuki with the shoto, tori
responds by stepping back with the left leg and brings the right side of the hanbo up to ukes left
elbow releasing the grab. (all in one movement).

HENKA
Uke has the Shoto in the right hand. Uke steps forward with the left foot, and grabs the collar wit
the left hand. Uke then steps forward with the right foot, with a Chudan Tsuki with the Shoto. Tori
steps forwards, and out to the right. The left foot, comes across to th left, and steps behind the
right. Tori brings the Hanbo up striking just above the elbow on Ukes grabbing arm.

2. TSUKI OTOSHI
Uke has the shoto in his right hand and steps forward with his left leg and grabs toris collar with
his left hand. Uke then steps forward with his right leg and executes a tsuki with the shoto, tori
responds by stepping back with the left leg and brings the right side of the hanbo up to ukes left
elbow releasing the grab (all in one movement). Then tsuki the right end of the hanbo at ukes
chin (move the body forward when striking the chin).

HENKA
The start is the same as Katate Uchi. After the strike up with the Hanbo, Tori releases the left
hand, and turns the Hanbo over to the right. Catching again wit the left hand, Tori strikes with the
tip of the Hanbo into Ukes throat. Tori moves forward for the Tsuki.

3. UCHI WAZA
As uke steps in to tsuki with shoto, tori steps back 45 degrees with his left and turns the hanbo
so that the left side strikes the wrist, the left hand releases the hanbo, the right side moves horizontally around so that the right end is caught in the left hand, slight step forward and tsuki to
right kasumi.

HENKA
Uke steps forward with a Chudan tsuki. Tori steps out to the left. The right end of the Hanbo
strikes down on top of Ukes hand. Uke releases the left hand, and turns it so that he can catch
the right end of the Hanbo. Tori does a slight step forward, and a Tsuki to Kasumi.

4. NAGARE DORI
As uke steps in to tsuki with shoto , tori steps forward with his right foot releasing the hanbo
with his left hand the hanbo strikes the inside of the elbow (the hanbo is vertical with the hand
at the top) the left hand grabs right hand controlling the shoto, the right hand comes down moving the hanbo and uses koshi ori (breaking the hip ). The left leg moves back anti-clockwise,
applying pressure to the arm and takes uke down.

KUKISHINDEN RYU HANBOJUTSU - 3

HENKA
Uke steps forward with a Tsuki. Tori steps forward with the right foot, on Ukes inside. Tori releases the left hand. With th Hanbo vertical (hand is at the top) Tori strikes with the length of the
Hanbo into the inside of Ukes elbow. At the same time Toris left hand grabs Ukes hand with the
Shoto. Tori rotates the Hanbo (keep contact with the elbow), until it is again vertical with the hand
at the top, and the Hanbo under the arm, and partial across the back. Tori steps back with the
left leg, pulling on Ukes arm with his left hand, and applying pressure with the hanbo. Finish with
Uke on the floor.

5. KASUMI GAKE
As uke steps in to tsuki with shoto, tori steps to the left to the outside of the attack and releases the hanbo with the right hand, the left hand holds the hanbo vertical with the hand on top, the
right hand grabs the wrist controlling the shoto, then step forward with the left foot and slam the
hanbo into ukes butsumetsu and is left across the front of ukes chest taking tsuke iri (inserting
the stick between the arm and body) moving the right leg to the rear clockwise, taking the arm
down to the ground.

HENKA
Uke does a Tsuki with the Shoto. Tori steps out to the left, and releases the right hand on the
Hanbo. The right hand takes hold of Ukes wrist with the Shoto. Tori strikes up to Ukes Kasumi
from under the outside of his arm with the top tip of the Hanbo (left hand at top, hanbo is vertical). Tori lifts the right hand, and steps across the front of Uke with the left foot (under the arm).
The right foot follows. Tori pulls on the right hand, throwing Uke.

6. IKI CHIGAE
As uke steps in to tsuki with shoto, tori moves to the left and releases the hanbo with the right
hand and takes hold of ukes wrist controlling the shoto. The hanbo is brought up under the
armpit, the arm is raised and tori passes under with the hanbo still vertical at the face. The left
leg is placed across ukes right leg and the hand is pulled down throwing uke. Move to the left to
avoid uke falling on you. The hanbo is rotated and the right end is brought down on ukes face.

HENKA
Uke does a Tsuki with the Shoto. Tori steps to the left, and releases the Hanbo with the right
hand, and takes hold of Ukes wrist with the right hand. The Hanbo is brought up under the
armpit, and strikes Uke in the face (only if possible). Tori lift up the right hand, and passes under
the arm, throwing Uke.

7. KAO KUDAKI
As uke steps in to tsuki with shoto, tori steps to the left and releases the hanbo with the left hand.
The left end of the hanbo comes up and over to the right the left hand catches hold of the other
end of the hanbo, as the hanbo rotates, it comes down striking the top of shoto or the kote. The
right hand slides to the right end of the hanbo, the left hand releases the hanbo then step forward with the left leg and the hanbo is rotated and brought down vertically on top of the head.

HENKA
Uke steps forward with the right foot, and does a Chudan tsuki with the Shoto. Tori steps back
to the left 45 degrees, and releases the left hand on the Hanbo. The Hanbo is rotated to the right,
with the left hand catching the other end, as it strikes the top of the Shoto, or the top of the wrist.

KUKISHINDEN RYU HANBOJUTSU - 4

Tori pulls the Hanbo through the right hand with the left hand, releases the left hand, and with a
left step forward, and strikes with a Katate Tento Uchi to Men.

8. ATE KAESHI
Uke holds the shoto in doko no kamae and attacks with jodan kiri. Tori drops the left knee to the
rear releasing the hanbo with the left hand, then turns the hanbo and catches the other end with
the left hand and tsuki with the hanbo to the ribs reach out when striking.

HENKA
Uke holds the Shoto in Daijodan, and Jodan Kiri. Uke drops to the left knee, and releases the
Hanbo with the left hand. The Hanbo is rotated over so the left hand can catch it again. The tip
of the Hanbo is struck into Ukes throat, knocking him back.

9. SAKA OTOSHI
As uke steps in to tsuki with shoto, tori blocks the tsuki upwards and moves 45 degrees back to
the right. Yoko aruki to the left and sankaku jime. Drop on to left knee dropping uke backwards
across the knee.

HENKA
Uke steps forward with a Jodan Kiri. Tori lifts the Hanbo up, blocking the Shoto either on the
blade, or at the forearm (be careful with this as the Shoto may be released, and drop down on
you). Tori then does Yoko Aruki to the left, steps around the back of Uke placing the Hanbo
across the front of Ukes chest. Tori pulls on the Hanbo, applying pressure to the chest. Tori then
drops to the right knee, taking Uke down.

KUKISHINDEN RYU HANBOJUTSU - 5

CHUDEN NO KATA
Tori is in Munen Muso no kamae
Uke attacks with a Daito
1. KOTE GAESHI
As uke cuts with the katana. tori steps out to the right and does a figure of eight strike downward
with the hanbo striking the kote.

HENKA
As Uke cuts down with jodan Kiri. Tori steps out to the right, and does a figure of 8 downwards
on top of the Hanbo striking the Kote.

2. SAKA OTOSHI
As uke cuts from daijodan, tori holding the hanbo in the right hand steps back with the right foot
so that he is side on to uke and strikes with the top tip of the hanbo (the hanbo is virtually horizontal across the body). Step forward with the left foot and deliver a second strike to ukes kasumi (all in one flowing motion).

HENKA
Uke cuts with Jodan Kiri. tori has the hanbo in the right hand, steps back to the right, so that he
is side on to Uke ( on the outside). He then strikes up with the Hanbo under the arms. Tori then
steps forward with the left foot, and strike with the top tip of the hanbo, into the kasumi.

3. HARAI WAZA
The start is the same as Kate Gaeshi. After the strike to the Kote, Tori steps to the left, and strikes
with another figure of 8 to kasumi.

4. SOTO WAZA
Uke cuts with Jodan Kiri. Tori steps out to the right, and strikes down with a figure of 8. Tori then
steps in and does a Tsuki to Kage.

KUKISHINDEN RYU HANBOJUTSU - 6

OKUDEN NO KATA
Tori is in otonashi no kamae.
Uke attacks with a daito.

1. HANE OTOSHI
Uke cuts with jodan Kiri. Tori steps out to the left and does a kuri kaeshi to the kote.

2. MATA GAKE
Uke cuts with Jodan Kiri. Tori steps out to the left, and strikes upward to the Kote. Tori then steps
in with the right foot,and strikes with Katate Age Uchi to Rin.

3. KOTE HARAI
Uke cuts with Jodan Kiri. Tori steps out to the left, and a Kuri Kaeshi. Tori then steps out to the
left. With the right side Tori strikes the kasumi, with kasumi Uchi.

KUKISHINDEN RYU HANBOJUTSU - 7

KUKISHINDEN RYU
BOJUTSU

KUKISHINDEN RYU BOJUTSU - 1

KOTSU
1. All movements with the Bo are done with the body, i.e. arms alone are not used, neither
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. 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.

REIHO
Tori, and Uke face one another, the Rokushaku bo is in the left hand. the Bo is changed from the
left to the right hand. both move into Seiza, and lay the bo on the ground on the right side of the
body. Uke, and Tori bow to each other, the take the Bo in the right hand, raise to the right knee.
The Bo is held so that it is vertical with one end on the ground. Leaning the body forwards, and
sliding the hand down the length of the Bo, it is slammed onto the ground forwards. They do not
wrap the fingers around the Bo, so as not to break them. The Bo is then pulled back on the right
side, and the left hand takes hold of the Bo, as Tori, and Uke come up onto their feet, into Kamae.

BOJUTSU
KAMAE
1. HIRA ICHIMONJI NO KAMAE.
Stand with the feet shoulder width apart. The Bo is held in both hands in front of the body.
2. ICHIMONJI NO KAMAE.
From Hira Ichimonji, turn side ways with the lead foot, pointing in the direction of Uke. The Bo is
still held as before.
3. JODAN NO KAME
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 forwards.
4. IHEN NO KAMAE
Drop the Bo to the side of the body, with the rear hand at the side, but away from the ear. The
Bo is angle down, but across to the front of the body.

KUKISHINDEN RYU BOJUTSU - 2

5. CHUDAN NO KAMAE
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.
6. SEIGAN NO KAMAE.
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.
7. GEDAN NO KAMAE
The Bo is slide form 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.
8. HEITO NO KAMAE
The Bo is pulled back to the central position, and is held 90 degrees across the back.
9. TENCHIJIN NO KAMAE
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.

BOJUTSU STRIKING POINTS


1. AGE UCHI
Strike upwards
2. KASUMI UCHI
Strike to the temple
3. TENTO UCHI
Strike to the top of the head from above
4. DO UCHI
The Bo strikes to the mid section.
5. ASHI BARAI
The Bo sweeps the legs away
6. KOTE UCHI
The Bo strikes the wrists.
7. TOKI UCHI
The Bo strikes to the top of the Foot.
8. TSUKI
The Bo strikes with a thrust
9. FURI
The Bo is used to twirl when striking. Side, and above the body.

KUKISHINDEN RYU BOJUTSU - 3

KIHON GATA
1. UKEMI GATA
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. ASHI BARAI
Uke and Tori face each other in Hira Ichimonji. Both step forward with the right foot, and meet in
the middle with Ashi Barai. The left hand is released, grabs again below the right hand. The right
hand slides tot he top. Switch step, and Ashi Barai. Repeat etc.

3. SHI HO BO FURI
Tori Furis the Bo, and strikes at random at the uke that surround him. A good flow of body movement is required to maintain a good control of the Bo.

4. MEN UCHI HARAI


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, and Ashi Barai.
The right hand releases, and the Bo is rotated, with the right hand catching, Ashi barai. The
whole movement is repeated again.

5. TSUKI HANE
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.

KUKISHINDEN RYU BOJUTSU - 4

KEIKO SABAKI GATA


1. GOHO (Five methods)
Tori starts in Hira Ichimonji no kamae, and steps back to Ichimonji no kamae. Tori then does a
Furi four times, switch stepping as he moves the Bo. With a right step forward, Toris strikes with
Ashi Barai, then straight up on the right with Kasumi Uchi. Tori slides the Bo back on the left to
Gedan no Kamae. Tori then steps forward with the left foot, striking with Ashi Barai, Tori pulls the
Bo back on the right , and throws a Tento Uchi at Uke. Tori then with out moving the legs does
a Ashi Barai on his left.

2. URA GOHO
Tori is in Hira Ichimonji no kamae, and steps back to ichimonji no kamae. Tori then does a furi
four times, switch stepping as he moves the Bo. Uke is in Seigan, but as the last comes he steps
to Daijodan. Tori has the Bo on the right, and does a Tsuki to the stomach. Tori pulls the Bo back
on the right, and with a switch step strikes with Kasumi Uchi. Tori pulls the Bo back on the left to
Gedam, switch steps, and strikes with Age Uchi. Tori lifts both hands high, and drops the front of
the Bo. Tori releases the right hand, and catches the Bo below the left hand (Bo is on the right).
Tori then does a switch step, and Kasumi Uchi.

NOTE
For the Age Uchi, the hand is palm up, the Bo is held a little like a sword for the final Kasumi
Uchi.

3. SASHI AI
Tori is in Ihen no kamae. Uke is in Seigan no kamae. Tori does a left step forward, and Tsuki.
With the Bo still on the right, Tori steps forward with the right foot, and a Kasumi Uchi. Tori drops
to the left knee, and at the same time drops the level of the front end of the Bo. Tori if need be
shifts forward, and lifts the front end of the Bo to strike with Age Uchi to the groin.

4. FUNE BARI
Tori is in Gedan no kamae. Uke is in Seigan no kamae. Tori steps forward with the right foot, and
strikes with a Do Uchi. With the Bo on the left, Tori switches step, sliding the hands slightly on
the Bo (in central position rear end strikes). Tori has the Bo on the right, and as he switches step,
strikes with Ashi Barai. Tori again switches step with Tento Uchi.

5. TSURU NO HITOASHI
Tori is in Tenchijin, Uke is in Seigan. Tori steps forward with the right foot, drops to the left knee,
and slams the Bo on the ground. Uke escapes by jumping back. Tori slides down, and slides the
Bo back to Gedan, and with no step does Ashi Barai. Uke comes up into Hicho (no block).
Comes up off his knee, with the Bo on the left. He does a left step forward and a Kasumi Uchi.
Tori no has the Bo on the right, and throws a Tento Uchi. Tori then pulls the Bo back on the right
to Gedan. Tori then does a right step forward, and does Kasumi Uchi. Tori then releases the left
hand. and brings the bo across the front of the body, catches with the right hand, and does a Do
or Kasumi Uchi (shift both feet forward.

KUKISHINDEN RYU BOJUTSU - 5

6. URA NO HITOASHI (URA ISSOKU)


Tori is in Gedan, Uke is in Seigan. Tori does a right step forward, and a Ashi Barai. With the Bo
now on the left, he release with the left and catches below the right hand. Tori steps forward with
an Ashi Barai. Tori releases the right, and catches below the left hand in the central position on
the right side of the body. Tori then does a Tento Uchi with a left step back. Tori repeats the complete sequence again. Finish with a Tsuki.

7. SUSO OTOSHI
Tori is in Chudan, and Uke is in Seigan. Tori does a Tsuki, and then with a right step forward
does a over the head Do Uchi. Tori the steps back with the right foot, with the Bo on the right
side, and throws the Bo forwards in a stretching Tento Uchi, letting go, and catching again with
the right hand. Tori then pulls the Bo back to a chest high Ichimonji, Tori then does a right step
forwards with a Ashi Barai.

NOTE
When the Tento Uchi is thrown, the Bo is held as if holding the sword, but with the right hand at
the bottom. Before doing the Ashi Barai the left hand which is at the front of the Bo is palm up,
and the right which is at the rear is palm down.

8 URA SUSO OTOSHI


Tori is in Chudan, and Uke is in Seigan. Tori does a slight left step forward and a Tsuki, he then
pulls the Bo back a little and with a right step forward does a Ashi Barai. After the Ashi Barai the
left hand releases as the Bo passes a little to the left, and catches again below the right hand,
switch step, and a Ashi Barai, switch step, Ashi Barai, switch step, Ashi Barai. The left foot is now
forward, Tori releases the right hand ,and turns the Bo over for a Tento Uchi. Tori then pulls the
Bo back on the right, and does a Tsuki.

NOTE
keep switching hands before each Ashi Barai. When Tori does the Tsuki, he slides the Bo
through the hands, keeping it at chest level. Final Tsuki the left palm is upwards.

9. IPPON SUGI
Tori is in Tenchijin no Kamae, Uke is in Seigan no Kamae. Tori does a right step forwards, place
the left knee down, and slams the Bo onto the ground. The left foot comes to the right foot, the
left hand takes hold of the Bo in front of the right hand. Then with a right step forward, Tori does
a low Ashi Barai, Bring the body back to normal height, Tori does a over the head Do Uchi with
the Do finishing on the left side of the body. As he does the Do Uchi, Tori shifts to the right side
of Uke. Tori steps with the left foot forwards, and with the hand sin the central position, he does
a Tento Uchi as he moves. The whole body shifts back to the left as he does the tento Uchi. The
Bo is now on the right, and releasing with the right hand, he turns the Bo over for a Tento Uchi.

10. TAKI OTOSHI


Tori is in Chudan no Kamae. Uke is in Seigan. Tori does a left step forward, and a Tsuki sliding
the Bo through the left hand, pulling the Bo back to the original position. The left foot steps back
to the same position as the right foot. Tori moves the Bo over to the left side of the body. The

KUKISHINDEN RYU BOJUTSU - 6

right hand releases, and the Bo is passed behind the body, so the left hand is at the belt, and
the right goes to the right shoulder to catch the Bo. Tori grabs with the right hand, and releases
with the left, and with a right step forward, does a form of Bo Furi strike (similar to a Tento Uchi).
Tori then steps back with the right, or forward with the left depending on distance, and repeats
the move on the right side. Finish in Chudan.

NOTE.
When the Bo lies across the back, make sure the tip of the Bo is pointing at Uke.

11. KOKU
Tori is in Chudan. Tori does a left step forward, and does a Tsuki. Uke is in Seigan, and as the
Tsuki comes in, he blocks the Tsuki upwards, knocking it up into the air. As this happens, Tori
does a left step forwards to the side of Uke. From the block Uke is in Daijodan. Uke does a Jodan
Kiri, Tori moves in to Ukemi (from Kihon Gata), Tori the drops his left hand down, with the Bo
dropping onto the back of Ukes neck.

12. KASA NO UCHI


Tori is in Seigan with the Bo on the left side of the body. Tori does a left step forward with a Do
Uchi, Tori switches step, and does another Do Uchi on the right side. Tori steps back with the
right foot, and lifts the Bo almost vertical, and switches hands on the Bo. Tori then steps forward
with the left foot, and does Age Uchi.

NOTE
As he does the switch step Toris hands slide from one end of the Bo to the other. The Age Uchi
strikes between the hands, to the inside of the right hand between the wrist, and the sword handle.

13. TACHI OTOSHI


Tori is in Ichimonji. Uke steps forward with the left foot from Seigan to Daijodan. Uke then steps
forward with Jodan Kiri. Tori shifts to the right, and lifts the Bo up to Ukemi (Kihon Gata). Tori
then steps back with the left leg, and releases the left hand, and rotates the Bo clockwise in front
of the body. The left hand catches again, the body has dropped, and the tip of the Bo points
towards Ukes face.

14. HARAI
Uke, and Tori are both in Seigan no Kamae. Uke steps forward with the left foot, and turns the
Seigan into a Daijodan, cutting with Jodan Kiri. Tori steps across to the right with the right foot,
and the left comes across to the right behind the right foot. The rear of the Bo comes over, to
strike down on top of Ukes Kote. Tori does a switch step, and strikes up with Age Uchi to the
Kote. Tori then slightly shifts the right foot to the right, and rotates the Bo over the head to strike
with a Do Uchi to the top of the thigh.

15. KOTE ZUKE (Yama Te Tsuke)


Uke is in Seigan. Tori is in Chudan no Kamae. Tori shifts the left foot forward, and a Tsuki. The
doing a switch step Tori does a Do Uchi (the Bo finishes on the left). Tori then throws a Tento

KUKISHINDEN RYU BOJUTSU - 7

Uchi over to Uke, holding the Bo at the end similar to a Katana. Tori pulls the Bo back on the left,
and with a left step forwards, strikes with a Age Uchi

16. MOKU ZUKE


Uke is in Seigan, Tori is in Ihen no Kamae (rotate rear hand while in Kamae). Tori steps forward
with the right foot, and strikes with a Tento Uchi. Doing a Bo Furi, Tori rotates the Bo, and switch
steps, until the Bo is on the right, in Seigan. Tori then switch steps, and strikes with a Tento Uchi,,
and rotates the Bo over, with switch steps, until the Bo is back on the right again. Tori then rotates
the Bo on the right, and a Tento Uchi with a right step forwards.

NOTE
Instead of switch stepping, Tori can advance on Uke, making Uke retreat.

17. KEAGE (Shu Ken)


Tori is in Ichimonji no kamae. Tori throws a Tento Uchi, and releases the right hand, as he does
this. With a switch step, Tori takes hold of the Bo again (the Bo is on the left). Tori repeats this
on the left, the right, the left. Then with a right step forward Tori rotates the Bo overhead, and
strikes with a Do Uchi.

18. GEKI RYU


Tori is in Seigan no kamae. With a left shuffle step forwards, Tori does a Tsuki, and then a small
Tsuki. Tori steps back on the left, moving the Bo around with him to the left side. With a left step
forwards, Tori strikes with Age Uchi, with a right step, Tori then does a Kasumi Uchi.

NOTES
The Bo is held in the central position, until the Kasumi Uchi.

19. TSUKE IRI


Tori is in Seigan on the left side. Tori does a right step forwards, and a Tsuki, pulls the Bo back
on the left side, and with a switch step, does a Do Uchi. In a Seigan no kamae, on the right side,
Tori steps forwards with the left foot, and a Tsuki.

20. GORIN KUDAKI


Tori is in Jodan no kamae, and moves to Ihen to Jodan etc. Tori steps forward with the right foot,
and a Do Uchi. The switch steps, and a Do Uchi on the left side, another switch step, and a Do
Uchi on the right side.

21. TENCHIJIN
Tori is in a left Tenchijin no kamae. With a left step forwards, Tori swings the Bo down and up in Age
Uchi. Continuing the advance with left steps, Tori does a Tsuki to the face, and with out pulling it back,
but stepping forwards with the left foot, strikes to kasumi on the left side. The right foot, comes in with
a forwards Yoko Aruki, and back again. As the right foot, comes to the ground, Tori does a Tsuki to Men.

KUKISHINDEN RYU BOJUTSU - 8

NOTE
The Yoko Aruki forward, does not move the Bo, this stays were it is. When Tori comes back he
pulls the Bo with him, sliding it through the left hand. This will invite Uke to attack him, then Tsuki.
Keep low when doing this technique.

22. MAE HIRIO


Tori is in Chudan no kamae. Tori does a right step forwards, and a Do Uchi, without stepping,
Tori does a Tento Uchi. Tori then steps back with the right foot, to Tenchijin no kamae, and drops
to the right knee, with a Toki Uchi. Tori takes hold of the Bo with the left hand in front of the right
hand, and does a Tsuki to Suigetsu.

NOTE
when doing the final Tsuki. The right knee is raised, and the left dropped. They are at 90 degrees
to each other, and the left foot is raised on the toes.

23. RYO KOTE


Tori is in Chudan no kamae. Tori steps forwards with the right foot, and a Age Uchi. With no step,
and the hands in the same place (do not move them), Tori releases the left hand, and rotates the
Bo with Tento Uchi, catching with the left hand again. Tori steps forward with the left foot, and
Age Uchi. Tori then steps back with the left foot, and a Ashi Barai / Age Uchi.

24. URA NAMI


Tori is in Ichimonji no kamae. Tori does a left step forward, and a Tsuki, steps back with the left
foot, and rotate the Bo over for a Tento Uchi. Tori then pulls the Bo back on the left ,and a Tsuki.
Tori then steps back with the left foot, and brings the Bo behind the back (horizontal). The right
hand goes over the top of the Bo, and brings it around (release the left hand) for a Do Uchi.

25. TAMA KAESHI


Tori is in Jodan no kamae, moving to Ihen no kamae. With a left step forwards Tori does a Tsuki.
Left step forwards, and another Tsuki. Tori pulls the Bo back on the right, and with a right step
forwards strikes with a Do Uchi. Tori rotates the Bo over the head, with Do Uchi. Tori quickly
drops the Bo for a Ashi Barai, then dropping the right knee, lifts the Bo up for Age Uchi to Suzu.

KUKISHINDEN RYU BOJUTSU - 9

BOJUTSU
SHODEN NO KATA

1. CHUDAN KANGI
Tori is in Chudan no kamae, and does a right step forward, and releases the Bo with the left
hand, rotates the Bo over head, and strikes with Do Uchi (catch the Bo). Tori steps back with the
right foot, pulling the Bo back to seigan. Tori rocks the body forward, releases the Bo with the
right, and throws a Tento Uchi. Tori pulls the Bo back, drops to the right knee, and Tsuki.

2. GEDAN KANGI
Tori is in Gedan no kame, Tori is in Seigan. Tori steps forward with the right foot, and does Ashi
Barai. The Bo comes up for Kasumi Uchi on the right. Tori switches step, and slides the hands
up the Bo, to Ichimonji (on the right). Tori steps a little to the left, Tori releases the left, hand turning the Bo over, and catches again. Tori then steps forward with the right foot, and strikes with
Do Uchi.

NOTE
For the final Do Uchi hold the Bo the same way as holding a sword.

3. IHEN KANGI
Tori is in Ihen no kamae. Tori fakes a Tsuki, and then lifts the Bo above the head, and rotates it,
releasing, and catching again with the left hand, and strikes with Kasumi Uchi on the right side
(step forward with the right foot. Tori steps forward with the left foot, sliding the right hand to the
end of the Bo. This brings the Bo over to the right side, and Tori then strikes up with Age Uchi to
Suzu, Tori steps back to Ihen no kamae.

4. JODAN GOGI
Tori is in Jodan no kamae. Tori does a right step forward, and Age Uchi, and then slides the Bo
back on the left to Gedan. Tori steps forward with the left foot, and Age Uchi, and brings the Bo
back on the right to Ichimonji. Tori does a Tento Uchi. Tori pulls the Bo back to Jodan.

5. ICHIMONJI GOGI
Tori is in Ichimonji, and changes to Ihen, by moving only the right hand. As he changes his
Kamae, Tori circles Uke to the right. Tori does a fake Tsuki. Tori then steps forward, with the right
foot, and rotates the Bo over the head to the left side. The holding the Bo almost in the central
position Tori does Tento Uchi. Uke blocks by lifting the Katana in both hands. Tori then pulls the
Bo back, drops to the left knee, and does a Tsuki.

NOTE
Tori keeps shifting the Kamae as he circles Uke

KUKISHINDEN RYU BOJUTSU - 10

6. HIRA ICHIMONJI GOGI


Tori is in Hira Ichimonji no kamae. Uke is in Seigan, and moves to Daijodan. Tori drops straight
down, and does a Tsuki to the throat. The standing up Tori does a Kasumi Uchi on the right side.
With a switch step, and moving over the left, Tori strikes with Do Uchi.

7. ICHIMONJI KOGI / HAKUGI


Tori is in Ichimonji no kamae. Tori strikes with a Tento Uchi three times, with a step forwards,
Then jumps back to Ichimonji no kamae.

8. SEIGAN KOGI / HAKUGI


Tori is in in Seigan no kamae. Tori steps forward with Tento Uchi, three times. On the last Tento
Uchi when the Bo is vertical, Tori steps forward with the right foot, and does a Do Uchi instead.
Tori then shifts back, and steps forward with the left foot, with Ashi Barai. Tori shifts the back back
(no step), and a Tento Uchi. Tori then jumps back to Seigan no kamae.

9. TENCHIJIN KOGI / HAKUGI


Tori is in Tenchijin no kamae, stepping back with the left foot, strikes with a right Do Uchi (use
the momenteum of the step). Pulling the Bo back to Seigan, Tori turns the hand over, and releases witht he rear hand for a Ashi Barai, and shifts back to Seigan, turning the hand over. Tori then
strikes with a Tento Uchi, with no step. Tori pulls the Bo back, and turning to the right into Kamae.
Tori is in Tenchijin no kamae, steps back with both feet then forwards with both feet. Tori steps
forward with the right foot, and strikes with Do Uchi, stepping back with the right foot, Tori releases his left hand, turns it so he can catch the top of the Bo with the left hand. Tori steps forward
with the right foot, striking with ashi Barai. With the Bo on the left, Tori steps forward with the left
foot, and strikes with Tento Uchi.

KUKISHINDEN RYU BOJUTSU - 11

CHUDEN NO KATA

1. JODAN NAIGI
Tori is in Ihen no kamae, Tori circles Uke, and moves the Bo into a vertical Jodan. Tori releases
the left hand, rotates the Bo over his head, steps forward with the right foot, and down to the left
knee and up into Age Uchi (hold the Bo above the head as the Age Uchi strikes. Tori releases
the left hand, rotates the Bo, and strikes Ukes foot (palm is down on the Bo), knocking him to the
ground.

2. GEDAN NAIGI
Tori is in Gedan no kamae, and circles Uke to the right. Tori strikes with Yoko Men, and jumps
back to Tenchijin no kamae. Tori steps foward with the left foot, and does a Toki uchi. Tori steps
forward with the right foot (still kneeling), and does a Ashi Barai to Yaku, and jumps back to
Kamae.

3. HIRA ICHIMONJI NAIGI


Tori is in Hira Ichimonji no kamae, and does Ashi Barai (Mawashite Ashi Barai), and hit striaght
up to Kasumi without srtepping (bend the lead knee). Do uchi (Mawashite Do Uchi) with a step.
Finish in Kamae.

4. CHUDAN JUGI
Tori is in Chudan no kamae, and circles Uke to the right. With a right step forward Tori fakes a
Tsuki (half a Tsuki), and quickly pulls the Bo back when Uke goes to block, and striaght away,
while stepping to the right, strikes with a Tsuki. Tori moves to the right, kneels, and strikes with
a Yoko men uchi. Tori then steps back to Kamae.

5. ICHIMONJI JUGI
Tori is in in Ichimonji no kamae. Tori does a Tsuki, and then steps to the right, brionging the Bo
across the back, and strikes down with Kubi Sugi (to the point where the neck, and shoulder
meet), Tori jumps back into Kamae.

6. IHEN JUGI
Tori has the Bo in Yoko Ichimonji, and moves to Ihen. Tori releases the left hand, and strikes with
a over the head Do uchi on the right. Uke blocks by bracing the Katana, against the side of the
arm. Tori steps to the left holding the bo in the central position, striking upwards with Age Uchi.
Tori brings the Bo down to the right side. releases with the left hand (right hand palm down),
catches the Bo with the left hand, and Tsuki to the stomach.

KUKISHINDEN RYU BOJUTSU - 12

7. SEIGAN SAIGI
Tori is in in a left Seigan no kamae, and moves to the right. As Tori is stepping to the right, he
strikes with a Yoko men Uchi (mawashite Yokomen Uchi). Tori then strikes with Hane Age (Age
Uchi, with hands in central position), as he steps back with the right leg. Tori rotates the Bo over
into Seigan no kamae, and steps back in the Kamae.

8. TENCHIJIN SAIGI
Tori isi n Tenchijin no kamae, and circles Uke to the right. Tori steps out to the right, and slides
the Bo for a Hane Age. Tori then shifts back to the left, to a right Tenchijin no kamae. Tori steps
out to the left, and slides the Bo for Hane Age. Then Tori shifts forwards then back with a Tsuki.
Tori moves the Bo behind the back, and grabs it over the shoulder with the hand, with the right
hand. Tori then steps out to the right, and releases the Bo from the back, and strikes with a Tento
Uchi. Tori then jumps back into Kamae.

9. ICHIMONJI SAIGI
Tori is in Ichimonji. They circle each other slightly. Tori lifts the front end of the Bo, and does a
over the head Do Uchi or Kasumi Uchi. Tori releases the left hand, and rotates the Bo in front of
the body anti clockwise, and strikes on the right with Do Uchi. Left step forward (Bo on the right),
and a Tsuki, pushing Uke to the ground.

KUKISHINDEN RYU BOJUTSU - 13

OKUDEN NO KATA

1. JODAN SOGI
Tori is in Jodan no kamae. As they circle each other. Tori throws a Tento Uchi (no step). Tori pulls
the Bo back on the right to Gedan.

2. GEDAN SOGI
Tori is in Gedan no kamae, and strikes with a Tento uchi (no step). Tori pulls the Bo back (the
lead palm is up). Tori steps to the right with the right foot, and Yoko Aruki to the right, and Tsuki.
Tori again steps to the right with the right foot, and then Yoko Aruki to the right, Tsuki. Tori then
jumps back into a kamae.

3. HIRA ICHIMONJI SOGI


Tori is in Hira Ichimonji no kamae. Tori steps back with the left foot, and a Tsuki to Hara. Then
back to Hira Ichimonji no kamae, steps back with the right foot, and a Tsuki to hara. Tori goes
down on his right knee, and a Tsuki (This is under Ukes Jodan Kiri, dropping to the knee as he
comes in). Tori jumps back to kamae.

4. CHUDAN KAKUGI
Chudan no kamae. Slide the right hand to the rear of the Bo and Tsuki. Tori steps to the left moving the Bo to the left side, and across the back from the left hip to the right shoulder, in Bo Furi.
Tori drops the Bo to mid bicep on the right arm, Takes hold of the Bo with the right hand, releases the left hand, and with a right step forward, strikes with Ashi Barai. Tori steps back with the
right foot to Chudan no kamae, Tori then fakes a Tsuki, and strikes with a Tento Uchi Yoko Men.
Tori steps back with the right foot, and drops to the right knee. Pulls the Bo back, and as Uke
comes in with Jodan Kiri, strikes with a Tsuki.

5. ICHIMONJI KAKUGI
Tori is in Hidari ichimonji no kamae. Tori steps forward with the left foot, and drops to the right
knee, with a Tsuki. Tori stands and steps to the right moving the Bo behind the back (top on the
right side). Grab the Bo with the right hand, and feint a strike twice. The grip is changed for a Do
Uchi, and steps to the right (or kneel)

6. IHEN KAKUGI
Tori is in hidari Ihen no kamae. Tori releases the left hand, and does a mawashite Age Uchi to
the kote, and regrabs the Bo. Tori releases the left hand and grabs above the right hand, and
steps forward with the left foot, striking with a Yokomen Uchi. Tori shifts back and does a Tsuki.
Tori steps to the right, and spins the Bo to the back and grab with the right hand. Tori then steps
out with the right foot, and a Yokomen. Release the left hand, pull back ,and jump back to kamae.

KUKISHINDEN RYU BOJUTSU - 14

7. SEIGAN YAKUGI
Tori is in Seigan no kamae. Tori steps out tot he right with the right foot, and forward with the left
with a Tsuki. Tori pulls back the Bo steps forward with the right foot, nd a Yoko Men uchi. Tori
pulls the Bo back and strikes with a Tento Uchi (no step). Step forward with the left foot, and lift
the Bo up with the right hand, and let the Bo slide down through the left foot a yokomen Uchi to
the other side. Pull back to Seigan no kamae.

8. TENCHIJIN YAKUGI
Tori is in Hidari Tenchijin no kamae. Steps forward with the left foot, and kneel on the right for a
Toki Uchi. Pull the Bo back while standing and Tsuki. Right step forward, and Ashi Barai. Shift
back and with no step a Tento Uchi. Spin the Bo as you step back into Kamae.

9. HEITO YAKUGI
Tenchijin no kamae, left step forward, and kneel with a Toki Uchi. Pull the Bo back as you stand,
and Tsuki. Tori then Yoko Aruki to the right, and at the same time move the Bo behind the back,
and grab the top of the Bo with the right hand. Twice feint a Do Uchi, change the grip and strike
with Yoko Men Uchi.

BO NUKE
1. KUBI NUKI
Tori is trapped with 4 Bo around the neck in a grid pattern. The Bos that are under neath are at
the sides of the neck. Tori hunches his shoulders, and turns to his left. As he continues to turn,
keeping the shoulders raised, Tori will start to spiral out of the trap. When the head has dropped
far enough Tori can make a sudden move, and escape the trap.
2. BENKEI NUKE
Tori is held down by two Bo. One across the chest trapping the arms to the side so f the body,
and the other across the shins. Tori turns his toes inwards so that they touch one another, and
raises his elbows. The left knee is bent, the wrists come up to the stomach. The body turns to
the left with the right foot pushing the body, and the right hand lifts the Bo to the level of the head.
The body then continues to roll escaping the trap

KUKISHINDEN RYU BOJUTSU - 15

DAKENTAIJUTSU (YOROI KUMI UCHI) .............................................................................................. 3


KIHON KAMAE GATA (BASIC POSTURE FORMS) .................................................................................... 4
GOH NO KAMAE (Five Way Postures) ............................................................................................... 4
HIRA NO KAMAE (Flat Posture) ........................................................................................................................ 4
HIRA ICHIMONJI NO KAMAE (Flat Number One Posture) ............................................................................. 5
SEIGAN NO KAMAE (Correct Eye Posture) ...................................................................................................... 6
KATATE HICH NO KAMAE (Single Crane Posture)...................................................................................... 7
KSEI NO KAMAE (Offensive Posture)............................................................................................................. 8

SHODEN NO KATA (INITIAL TRANSMISSION FORMS)............................................................................... 9


SEION (Living Sound/Life Sound) ....................................................................................................................... 9
SUI YOKU (Water Wing) ................................................................................................................................... 11
SUI SHA (Water Wheel) .................................................................................................................................... 12
KUBI WA (Collar) .............................................................................................................................................. 13
HSETSU (Avalanche) ...................................................................................................................................... 14
ISO ARASHI (Sea Storm/Storm Hitting a Beach) .............................................................................................. 16
FU BUKI (Blizzard/Snow Storm) ....................................................................................................................... 17
KATA HO (Leaf Sail) ......................................................................................................................................... 18
TATSUMAKI (Tornado/Whirlwind) .................................................................................................................. 19

CHDEN NO KATA (MIDDLE TRANSMISSION FORMS) ........................................................................... 20


URA NAMI (Inlet Waves/Inside Wave) ............................................................................................................. 20
TEN CHI (Heaven and Earth) ............................................................................................................................. 21
KATA NAMI (Single Wave) .............................................................................................................................. 22
KASUMI GAKE (Haze Hook/Mist Bluff).......................................................................................................... 23
TATSU NO SE (Rapids of the Dragon) .............................................................................................................. 24
SHIO KAZE (Salt Wind) .................................................................................................................................... 25
YAMA ARASHI (Mountain Storm) ................................................................................................................... 26
YANAGI KAZE or RYU FU (Willow Wind) .................................................................................................... 27
TATSU NAMI (Dragon Wanders) ...................................................................................................................... 28
TORA-O or KOBI (Tigers Tail) ........................................................................................................................ 29
JGAN (Heavy Rock)......................................................................................................................................... 30
SHIH DORI (Four Way Capture) ..................................................................................................................... 31

SABAKI GATA (LATERAL MOVING FORMS/EVASION FORMS) ................................................................ 32


ARA KOMA (Wild Horse) ................................................................................................................................. 32
SHIKA ASHI or KA SOKU (Deer Foot) ............................................................................................................ 33
CHIKUSEI (Bamboo Sound) .............................................................................................................................. 34
YUME MAKURA (Dream Pillow) ..................................................................................................................... 35
SUSO SABAKI (Moving the Hem) .................................................................................................................... 36
ISO GAESHI (Turning Over on the Shore) ........................................................................................................ 37
KAZE HARAI or FU SHOKU (Wind Sweep) ................................................................................................... 38
KURUMA DORI (Wheel Capture) ..................................................................................................................... 39
KIMON (Demon Gate) ........................................................................................................................................ 40
URA KIMON (Inside Demon Gate) ................................................................................................................... 41
UKI MO (Seaweed/Floating Algae) .................................................................................................................... 42
RANP (Disordered Wind) ................................................................................................................................ 43

OKUDEN NO KATA (INNER TRANSMISSION FORMS) .............................................................................. 44


F SETSU (Wind and Snow) ............................................................................................................................. 44
GONGI (Authority Technique/Power Technique) .............................................................................................. 45
KAESHI WAZA (Reversing Technique) ............................................................................................................ 46
ONI OTOSHI (Demon Drop) .............................................................................................................................. 47
IWA KUDAKI (Breaking Rocks) ....................................................................................................................... 48
SETSUT (Snow Topple)................................................................................................................................... 49
GT (Defeating Strength) ................................................................................................................................ 50
DOF (Wind Catches) ........................................................................................................................................ 51
ONI KUDAKI (Breaking the Demon) ................................................................................................................ 52
RY FU or YANAGI KAZE (Willow Wind) .................................................................................................... 53
TACHI UCHI (Standing Strike) .......................................................................................................................... 54
HANE TAOSHI (Leaping Knockdown) ............................................................................................................. 55

SHIRABE MOGURI GATA (SINKING FORMS) ........................................................................................ 56


MOGURI DORI (Submerging Capture) ............................................................................................................. 56
SHARIN (Axle) ................................................................................................................................................... 57

KO FUKI (Tiger Takedown) ............................................................................................................................... 58


RY FUKU or RYU BUSE (Dragon Takedown) .............................................................................................. 59
TOBI CHIGAE (Walking Jump) ......................................................................................................................... 60
YAMA OTOSHI (Mountain Drop) ..................................................................................................................... 61
T RAKU (Strike Down).................................................................................................................................... 62
SH T (Dissolve Hitting Down) ...................................................................................................................... 63
MUSASABI (Mongoose) .................................................................................................................................... 64
TAMA NAGE (Jewel Throw) ............................................................................................................................. 65
GYAKU NAGE (Reverse Throw) ...................................................................................................................... 66
UCHI HARAI (Sweeping Strike) ........................................................................................................................ 67

DAKENTAIJUTSU (yoroi kumi uchi)

th

As I mentioned in The History of the Kukishin Ry Urabe Sukumi Kanesada, 11 Ske of the
Kishin Tosui Ry, learned Kenpo from Sonjin-Shi Yoshihide, who had come to Japan from China
during the years 1345-1349, and added it to the Tosui Ry as Dakentaijutsu. Then in 1349 Izumo
no Kanja Yoshiteru gave it the name Kishin Dakentaijutsu. Now, before making an explanation of
Kukishin Ry Dakentaijutsu I will introduce the Gokui no Uta (Poems of the Secret Principles)
found in the Kukishin Ry densho.
Tsukikage no terasanu sato wa nakeredomo nagamuru hito no kokoro ni zo sumu
There is no village upon which the moonlight does not fall, but in the mind of he who looks there
is
Izumo no Kanja Yoshiteru
(The moons light shines fairly upon everything. If you feel that it is not shining on your place that
is a mistake. It is because the mind of the one who is looking is clouded.)
Omizu no saki ni nagaruru tochi gara mo mi o sutete koso ukamu se mo are
Even the soil washed away in front of a flood, by giving itself up, will float in any torrent
Hozen
(Even dirt washed away by a flood will naturally float to the waters surface. This means that even
if you are in a desparate situation, if your mood is that of Sutemi, or throwing yourself away, you
can find a way to win.)
Mi no sonae yu o arawasu bu no naka ni shin no gokui wa kokoro narikeru
Within all the defenses the body uses to show courage, the true secret is the mind.
Okuni Kihei Shigenobu
(The kamae of the body seem to express ones strength but true strength is in the heart.)
Bu no hi to wa kataki no chikara o riyo shite yanagi ni kaze no kokoro tomokana
Is not the secret or power making use of the enemys strength, the heart of a willow in the wind?
Kuhara Kotaro Nobuyoshi
(What is important in the martial way is leaving out any excess power and using an opponents
strength, doing exactly as the branches of a willow tree do when blown by the wind, swaying with
no tension.)
Whichever of the above phrases you read, it is saying that being prepared in the mind is
important in bud. Please work on creating a composed, confident state of mind. To do so,
correct training (this means concentrating on thinking about the meaning of a technique. I dont
think you will get good results by thinking unnecessary thoughts) is very important.
Quote from Manaka Unsui

KIHON KAMAE GATA (Basic Posture Forms)

GOH NO KAMAE (Five Way Postures)

HIRA NO KAMAE (Flat Posture)

The feet are shoulder width apart. Both hands are in fudoken, palms facing the body on the inside
near the hips.
With both hands open and held at the hips, your eyes stare into the opponents eyes.
Quote from Manaka Unsui

HIRA ICHIMONJI NO KAMAE (Flat Number One Posture)

The body is the same as Hira No Kamae. The arms are outstretched to the side of the body. The
hands are in shikanken so that the fingers will not get cut off. Also, it is almost impossible to make
a fudoken when wearing armor.
With both hands open and spread out to the right and left, your eyes stare into the opponents
eyes.
Quote from Manaka Unsui

SEIGAN NO KAMAE (Correct Eye Posture)

The body is sideways to uke. The left hand is in shikanken and points at (U) eyes, the right hand
in shikanken resting on the heart.
With the body turned to the right side, lightly clench your right fist and put it on your hip, and put
your left hand in shuto at the opponents eyes.
Quote from Manaka Unsui

KATATE HICH NO KAMAE (Single Crane Posture)

Same as Seigan No Kamae. The left foot is back near the right foot.
With the body turned to the left side, lightly clench your right fist and point it at the opponents
chest and keep your lightly clenched left fist against your left chest. Your eyes stare at the
opponents eyes.
Quote from Manaka Unsui

KSEI NO KAMAE (Offensive Posture)

The left hand is shikanken above the eyes. The right hand is by the heart in shikanken.
With the left hand lightly clenched and above your own head, lightly clench the right fist and put it
against your chest, pull your right foot back and lower your hips. Your eyes stare into the eyes of
the opponent.
Quote from Manaka Unsui

SHODEN NO KATA (Initial Transmission Forms)

The kata of the Shoden (beginning scroll) are training in intense, forceful techniques to demolish
an opponent with aggressive attacks; especially in throwing opponents by pulling with the legs.
Thus, early in training it cannot be helped if the techniques require strength to perform.
Quote from Manaka Unsui

SEION (Living Sound/Life Sound)

(U) holds (T) in kumi uchi


Grab (U) left collar with the right hand, right collar with the left hand.
The right thumb presses into nerve in the side of (U) neck. As you do this, shift your left
foot to the left, pulling (U) right arm straight, and making your own right arm straight.
Place (kick) the right foot against (U) right knee (or hip).
Pressing the nerves in (U) neck, pushing out the foot, and turning counter-clockwise,
throw (U) onto back with osoto gake.

HENKA
Instead of placing your foot on the (U) hip, place it behind (U) right leg and throw.
HENKA (YOROI)
Face each other in Hira Ichimonji No Kamae, with the right hand grabbing the shoulder strap,
and the left hand either the elbow, or the protective plate on the back of the hand.
The left hand lets go, comes in underneath and strikes to the tendons on the inside of (U)
wrist, to knock it clear (this is a short movement).
Take hold of the inside of (U) sleeve by the elbow, then the right foot is placed behind the
back of (U) right foot with the calves touching.
(U) is the forced backward.
Note: Jack explains that you should move to the outside and around the opponent to a point
where he is completely off balance, then step in towards the opponent so he falls into the kukan.
Note: Hold the strap high on the shoulder. As the right foot is placed on the ground, (U) balance
is pushed backwards. The left foot can come in to be close or on to (U) right foot. As you grab in
kumi uchi, the body weight sinks a little.
The meaning of the technique is to cause [the opponent] to make a sound. While attacking the
opponents neck with boshiken or shishinken (the fingertips), you throw him using osoto gake. It is
important to sufficiently unbalance the opponent using boshiken.
Quote from Manaka Unsui
Firmly grasp the opponents grabbing hand with your left hand and thrust with the right. This is
an important principle for kumi uchi. Then fold the opponents knee. Fold the knee and take down.
Having brought him down, apply a hold to his joints with the body.
9

Just as it is considered important to walk rhythmically, when carrying heavy objects the armored
warrior walks keeping a rhythm. Having come to grips with the attacker, thrust in with the shitoken
through the gaps in the opponents armor. Then press in. In the previous technique the knee was
kicked out but here, because of the armor plating, there are cases where a kick will not work.
Thus one positions ones left leg so as to control the opponents joints and then take him down.
The opponent has fallen. At this time, you can draw the sword and thrust it in under the helmet
without aiming for any particular target. Then as you turn the sword you can cut the neck. This is
important; a takedown. Here, this armor breakfall is important.
Quote from Hatsumi Senseis video

10

SUI YOKU (Water Wing)

(U) from Seigan, right jodan tsuki


From Hira, move back into Seigan; left jodan uke.
(U) left jodan tsuki
Right jodan uke; grab the wrist after the block.
(U) right keri
Left gedan uke, boshiken (U) kirigasumi (below the ear).
Step forward with the right foot, kick with the left to ryuge (ankle bone outside calf).
Kneel with right leg, uzumaki.
The technique gets its name from its use of the arms in a way resembling the large movement of
a bird flapping its wings. Grabbing the opponents arms and unbalancing his body, you throw him
with the body power created by pulling the left leg back.
Quote from Manaka Unsui

11

SUI SHA (Water Wheel)

(U) right jodan tsuki


Left jodan uke (daken-style).
Ducking low, strike (U) nasai.
(U) left jodan tsuki
Right jodan uke.
(U) right jodan tsuki
Left jodan uke, grab (U) wrist with the blocking hand.
Kick (U) left leg with your right foot to sai.
Grab (U) neck.
Finish with uchi mata.
The meaning of the technique is to make the opponents body roll over like a water wheel.
Kicking upwards into the uchi mata (inner thigh), you finish by spinning the opponents legs into
the air. You need to practice sufficiently at using both arms and both legs.
Quote from Manaka Unsui

12

KUBI WA (Collar)

(U) right jodan tsuki


From Seigan, left jodan uke.
(U) left keri
Grab (U) wrist, right gedan uke.
Right boshiken from the inside to (U) ryumon.
Take hold of (U) neck, twist (U) down to the left by stepping back with the left leg.
Lock (U) arm with your knee.
Re-apply boshiken.
The meaning of the technique is to attack the enemys neck. The use of the four fingers of your
right hand is very important. How and which direction to pull onto the left foot and also the timing
for using the right hand also become important.
Quote from Manaka Unsui

13

HSETSU (Avalanche)

(U) and (T) are in Kosei No Kamae


(U) right jodan tsuki
Left jodan uke.
(U) left jodan tsuki
Right jodan uke.
(U) right keri
Right fudoken (U) nasai.
(U) right jodan tsuki
Left jodan uke.
Grab (U) right collar with your left hand.
(U) swings his right arm down to knock off your grab
Grab (U) right hand with your left hand in omote gyaku.
Turn clockwise so that your back comes to (U) back.
Strike with a right elbow to (U) butsumetsu, holding your left hand high above your
head.
Right hand joins the left; pull (U) down on the right side to his back.
Note: Jack explains that after you spin behind and elbow (U) butsumetsu, put (U) arm into gyaku
zeoi, then lift (U) arm straight up, then behind (folding backward at the elbow, looks like (U) is
scratching his back), then pull straight down to the ground.
HENKA
Same start.
Grab (U) left wrist with the right hand after the strike to nasai.
Lift the wrist youre holding and grab (U) same arm with your left hand, swinging it out
to the right to stop the jodan tsuki.
Switch hands on (U) wrist, apply a choke with the right hand.
Turn your body so that you can start a seoi nage.
(U) pulls away.
Go under, throw with ippon seoi nage.
Note (yoroi): When (U) is down, the cresting or the wings of the helmet can be held to restrain
him, and restrict his movement.
The name of the technique means to throw the opponent all in one instant like an avalanche.
The way you enter with your body when you throw with ippon zeoi nage while breaking the elbow
is am important technique.
Quote from Manaka Unsui
When grappling in armor if you fall down, its the end. Thus, so as absolutely not to fall down,
there is the armor stepping. Step firmly, one by one precisely fixing the foothold. Then
establishing in your mind the presence of the armor sleeves and the like, carefully take the proper
distance. Gyaku are also applied while taking the proper distance. Having applied the gyaku,
send the opponent flying, more so than putting the hold in to the limit.
Counter the opponents fists by hitting them upward as much as possible. Then strike in through
the gaps in his armor. When you grab the opponent you may grab any place. Then move to push
down the opponent. When the opponent dislodges your hand, grab hold again. Then move to
take him into a back throw. If the back throw does not work, move your body to pull the opponent
14

down. You can in essence just pull him down. Then, using the kabuto wari (helmet breaker),
break the attackers helmet.
Quote from Hatsumi Senseis video

15

ISO ARASHI (Sea Storm/Storm Hitting a Beach)

(U) grabs your collar with his left hand, right strike
From a form of Kosei, left jodan uke.
(U) right kick
Left gedan uke.
Lock (U) hand on the collar, strike face with a left shakoken.
Step back with the right foot, uzu maki.
Lock the hand on the knee to finish.
The meaning of this technique is to be as savage as waves during a storm. You attack the joints
with omote gyaku. What is important I the side-to-side shifting of the body and to throw the
opponent using the joint pressure created by pulling hard enough with your left leg.
Quote from Manaka Unsui

16

FU BUKI (Blizzard/Snow Storm)

Starts the same as Iso Arashi


Defense is the same, but take (U) hand in omote gyaku.
Take hold of the elbow with the left hand, and force it upward.
Kick to right nasai.
Turn under the arm to throw with seoi nage.
The meaning of the techniques name is to blow into your opponent like a blizzard. Using the
elbow joint and omote gyaku to pin the opponent in place, you force his body to move the way a
blizzard does and use koshi nage to decide the end of the fight.
Quote from Manaka Unsui

17

KATA HO (Leaf Sail)

(U) right jodan tsuki


Left jodan uke.
(U) left jodan tsuki
Right jodan uke.
(U) right keri
Right fudoken (U) nasai.
(U) left keri
Left fudoken (U) nasai.
(U) right jodan tsuki
Block with Jmonji, apply oni kudaki.
Step out to the side, seoi nage..
Straddle (U), lock the arm.
The condition of being unbalanced as though catching all the wind in a sail on one side.
Receiving the last punch with the arms crossed (jmonji), catch the elbow joint in oni kudaki and
go to osoto gake. The method of using the right hand when catching in jmonji is important.
Quote from Manaka Unsui

18

TATSUMAKI (Tornado/Whirlwind)

Starts the same as Kata Ho, until the last right jodan tsuki
Start to apply the jmonji dori.
As (T) applies Jmonji dori, (U) strikes with a left jodan tsuki.
Step to the side, jodan uke, omote shuto (U) uko.
Take hold of (U) daimon, step out, kick with kakato keri (backward hook) to (U) the
hip or upper thigh.
Kneel, pull (U) down across the hips.
Tossing up and throwing the enemys body like a tornado. In this technique, with the finishing
osoto gake you hang your opponent up as though to bend and break his body. It is important to
make the opponent spin around and around.
Quote from Manaka Unsui

19

CHDEN NO KATA (Middle Transmission Forms)

URA NAMI (Inlet Waves/Inside Wave)

(U) in Seigan No Kamae, (T) in Hira No Kamae


(U) right jodan tsuki
Left jodan uke.
(U) left jodan tsuki
Right jodan uke.
(U) right keri
Step forward 45 degrees to the right, left gedan uke (U) right thigh.
(U) follows and strikes with right jodan tsuki
Jmonji, apply oni kudaki.
Right keri (U) stomach.
In the same motion drop right foot behind (U) right foot, drop (U) with oni kudaki.
The meaning of the technique is to do footwork that is like waves washing on the shore of a quiet
bay. After catching with oni kudaki and kicking you finish with osoto gake. At that time you should
be able to put a wave-like foot movement into effect.
Quote from Manaka Unsui

20

TEN CHI (Heaven and Earth)

(U) in Seigan, (T) in Hira Ichimonji


(U) right jodan tsuki
Left jodan uke.
(U) left jodan tsuki
Right jodan uke.
(U) right jodan tsuki
Left jodan uke.
(U) right keri
Step to outside of (U) kick.
Left fudoken (U) thigh. This turns (U) around to the left.
(U) comes back to face you, right jodan tsuki
Shift to the left, outside of the tsuki using jmonji dori.
Take hold of (U) arm, with the left hand taking hold of (U) wrist and your right hand at
(U) elbow.
Pull (U) arm out while keeping it straight. This makes (U) bend forward and step a
little with the left foot.
Right keri (U) groin.
Drop to the left knee and pull (U) down to the ground.
This technique is so named because the opponents body flies up toward heaven and then falls
flat on the ground. Receiving with jmonji (crossed arms), you lock the wrist and elbow, kick
upward and throw by sitting down. What is important is the principle of receiving in jmonji.
Quote from Manaka Unsui
That was very good stepping. It contains within it a kiai. It can also be called victorious stepping.
It is a most important type of footwork for grappling in armor. Then finally, take the opponents
arm in jmonji. Take the arm making a cross. Then pull down. A kick also goes in here. Then
finish the technique. Cross hold. Holding firmly so that the opponent cannot escape, pull down
while taking the opponents elbow. While pulling down, a joint reversal on the wrist and elbow is
applied throughout.
In olden times, the blocking method of yoroi kumi uchi was indeed known as dakentaijutsu (hitting
fist-body art). Strike upward strongly, destroying the opponents blows. This is to disarrange the
opponents body, to make his center of gravity unstable. Then block in jmonji, and kick in. From
there, proceed to jerk the opponent down. Then drawing the yoroi dshi (armor penetrating
dagger), stab into the opponents vital point. Then cut the carotid artery.
Quote from Hatsumi Senseis video.

21

KATA NAMI (Single Wave)

(U) in Seigan, (T) in Hira Ichimonji


(U) right jodan tsuki
Left jodan uke.
(U) right keri
Step forward with the right foot, turn to the left, and strike with a right fudoken to (U)
thigh.
(U) right jodan tsuki
Grab (U) sleeve with your left hand, and (U) collar with your right hand.
Step with the right foot, throw with harai goshi.
The meaning of the technique is to manage things just as you like. This technique finishes with
harai goshi, but the right boshi and the side-to-side body movement are the key points of the
technique.
Quote from Manaka Unsui

22

KASUMI GAKE (Haze Hook/Mist Bluff)

(U) in Seigan, (T) in Hira


(U) right jodan tsuki
Left Jodan uke.
(U) right keri
Step forward to the right foot.
Turn to the left, right fudoken into (U) thigh.
(U) right jodan tsuki
Grab (U) sleeve with left hand.
Right hand strikes (U) right shoulder, then moves down to grab (U) right elbow.
Pull (U) elbow so that it bends. When the elbow is bent the forearm is vertical.
Turn under (U) arm, throw with seoi nage.
Note: The bent arm is the same angle as for musha dori or oni kudaki.
The techniques meaning comes from a condition as though a haze had arisen, caused by using
metsubushi. The timing in using your right fist to strike the face as a rebounding motion after
receiving the kick is important.
Quote from Manaka Unsui

23

TATSU NO SE (Rapids of the Dragon)

(U) in Seigan No Kamae, (T) in Hira Ichimonji


(U) right jodan tsuki
Left jodan uke.
(U) right keri
Left gedan uke.
(U) right jodan tsuki
Turn to the right and grab (U) elbow sleeve with the left hand.
Turn your hand over to the left and down so that (U) hand rests on your forearm.
(U) grabs your elbow sleeve and steps forward with the left, and the right to the outside of (T)
Your right hand comes down and strikes (U) thigh, making (U) release his grab.
Switch your grab from the right arm to the left arm.
Bar (U) arm vertical to your body.
Place your right hip against (U) right hip, throw.
The meaning is to apply the technique as quickly as a dragon swimming upstream through
rapids. The point is the speed of the movement in changing to koshi nage after setting up by
locking the opponents left arm.
Quote from Manaka Unsui

24

SHIO KAZE (Salt Wind)

(U) in Seigan, (T) is in Hira


(U) right jodan tsuki
Left jodan uke.
(U) right keri
Left gedan uke (U) kaku (knee).
(U) left jodan tsuki
Right jodan uke (U) hoshi (inside elbow) or nagare.
Grab above the backside of (U) right bicep with your right hand. At the same time,
apply ura gyaku with the left hand.
Keri (U) right koe (side of the groin).
Drop (U) forward.
Note: If (U) resists and comes back up, knee (U) in the chest or face then drop him forward.
The techniques meaning comes from sticking to the opponent like a damp sea breeze. The
finish is by breaking the wrist joint, but it is important that in the flow of this series of movements
you never move away from the opponents body.
Quote from Manaka Unsui

25

YAMA ARASHI (Mountain Storm)

(U) grabs (T) collar with the left hand, right jodan tsuki
Step back to the left 45 degrees, right jodan uke (U) jakukin (inside middle of bicep).
Right hand checks (U) grab from underneath.
Ura gyaku with the left hand.
Walk under the arm with yoko aruki. At the same time strike (U) butsumetsu with the
right elbow as he passes.
Walks behind (U) back, locking his arm behind him.
Kick (U) buda (middle of the calf) with the right foot.
Step back with the right foot, taking (U) down so that he falls onto his arm, breaking
it.
The name of the technique comes from its rough appearance, like a tree in a storm. Catching
and reversing one-handed, you throw with ippon zeoi to break the elbow. The point is in how you
move your feet to enter into the ippon zeoi after taking the lock.
Quote from Manaka Unsui

26

YANAGI KAZE or RYU FU (Willow Wind)

(U) grabs (T) collar with the left hand, right jodan tsuki
Check (U) grab with the right hand, step back 45 degrees to the right while you left
jodan uke (U) jakukin.
Right fudoken or oshu (U) butsumetsu. At the same time as the strike, grab (U) left
arm with your left hand in the same place as the jodan uke.
With the right hand grab (U) butsumetsu, bring (U) to his toes, and throw in the same
way as doing omote gyaku.
The meaning of the technique is to be supple like branches of a willow tree blown by the wind.
Circling around behind the opponent and pulling him down backwards, it is his own body that
breaks his arm. The point is in how you circle around.
Quote from Manaka Unsui

27

TATSU NAMI (Dragon Wanders)

(U) grabs (T) collar with the left hand, right jodan tsuki
Check (U) grab, step back to the right 45 degrees, left jodan uke.
Grab (U) grabbing hand with your right hand, turn it to the right so that your elbow
locks it open.
Step with the right foot and turn so that the knee comes to the ground.
Throw (U) to the ground with omote gyaku.
The techniques name comes from the image of a dragon wandering this way and that high in
the air. Catching the opponents arm with one hand you grab the opponents underarm, but using
only your left arm you might lose in a contest of strength. That is when it is important to use your
entire body.
Quote from Manaka Unsui

28

TORA-O or KOBI (Tigers Tail)

(U) grabs (T) collar with the left hand, right jodan tsuki
Step back 45 degrees, left jodan uke.
Omote gyaku (U) grabbing hand.
Left hand grabs (U) left elbow.
Step back with the left foot, left keri (U) yaku, and step through.
From the omote gyaku strike from under the arm with the right hand to (U) asagasumi
with oshu (open palm strike), knocking (U) to the ground.
Your knee should be on (U) suzu (groin), and the right elbow on dokotsu (Adams
Apple), as you roll over (U).
The meaning of the technique is to wrap around like a tigers tail. In this technique you knock the
opponent down with ashi sabaki (footwork). It is important to use close distancing.
Quote from Manaka Unsui
First, take the opponents attacking arms in kumi uchi gata. From there, bringing your right hand
to the opponents right hand, move with the body, take the opponents wrist, elbow and shoulder.
Upset the center of balance of the opponents body. Then, with all your spirit, strike the opponent
down. This is an important point.
Against the opponents stab with the yoroi dshi, block and go into a wrist gyaku. The gyaku is
applied using the shitoken. Then, using your body, move to push the attacker off his feet. Here
one also hits the opponents visor to bring him down.
Quote from Hatsumi Senseis video

29

JGAN (Heavy Rock)

(U) grabs your collar with the left hand, right jodan tsuki
Step back 45 degrees to the right, left jodan uke.
Apply take ori with the right hand to (U) grabbing hand.
With the left hand grab the elbow of (U) grabbing hand.
Drop your weight, then come up as if rolling a stone (to (U) arm), knocking (U) to the
ground.
The meaning of the technique is a heavy boulder that is leaning on something. Sweeping the
opponents punch past you pin him once, then change your grip and put your body weight onto
him to pin him once again.
Quote from Manaka Unsui

30

SHIH DORI (Four Way Capture)

(U) right jodan tsuki


Left jodan uke to (U) wrist.
(U) grabs your collar with the left hand
Your left arm comes up in front of your body, and with the right arm, apply oni kudaki
to (U) grabbing arm.
Yoko aruki to the left, move your right foot behind (U) left leg.
While stepping back with the right leg and straightening (U) arm, bring (U) to the
ground.
Note: For the take down walk in the direction (U) left leg points. If the oni kudaki fails, change to
omote gyaku. If (U) tries to escape, change the technique to yume makura.
The techniques name means to move the opponent broadly from side to side. In this technique
you lock the opponents elbow; after reversing the elbow with oni kudaki you move the opponent
to the right, then put your hips in and throw with ippon zeoi.
Quote from Manaka Unsui

31

SABAKI GATA (Lateral Moving Forms/Evasion Forms)

The Sabaki Gata are for catching weak points to break an opponents balance while
simultaneously practicing movement which uses the whole body.
Quote from Manaka Unsui
ARA KOMA (Wild Horse)

(U) grabs (T) collar with the left hand, right jodan tsuki
Step back, left jodan uke.
Check (U) grab with your right hand, turn it into omote gyaku, but hold (U) hand close
to your body.
Step in with the right foot, left boshiken (U) shada somi (below the ear).
Step back with the right foot, with the boshiken still applied. This pushes (U) to the
ground. Keep the boshiken in place to restrain.
The meaning of this technique is to send the opponents body flying in the same violent way as a
horse bucks. Capturing the wrist joint, you break the bodys balance and finish with koshi nage.
The koshi nage here should bounce the opponent up.
Manaka Unsui

32

SHIKA ASHI or KA SOKU (Deer Foot)

(U) grabs with the left hand, kicks with the right foot
Check the grab, step to the right, left gedan uke.
(U) right jodan tsuki
Left jodan uke (U) hoshi, kick with the right heel to the inside of (U) right knee or calf.
Turn the heel over, kick the same area on the left leg.
NOTE: For the final heel kick, keep the hips back.
Moving lightly, like the way a deer uses its legs. You throw the opponent using the movement of
the right leg. After finishing the kick, quickly wrap and catch the opponents leg. However, you
must not release the hand which is caught with ura gyaku.
Manaka Unsui

33

CHIKUSEI (Bamboo Sound)

(U) right jodan tsuki


Block at (U) wrist.
(U) left jodan tsuki
Block to (U) hoshi.
(U) right keri
Left gedan uke (U) ankles.
(U) immediately does a right jodan tsuki
From the gedan uke, left jodan uke (U) jakukin.
From under the arm, strike with a right oshuken to (U) butsumetsu (the right leg is in
front).
Grab (U) butsumetsu, bring (U) up on toes, and at the same time grab the flesh on
the upper arm with the left hand.
Turns (U) by pressing butsumetsu and pushing the arm. This also makes (U) bend
backward.
With the right hip throw (U) with harai goshi. Drop your body weight as you throw.
Place the knee into the ribs when (U) is on the ground.
NOTE: Be careful when practicing the harai goshi, as (U) can land on the knee, and break their
back.
Sharply, like the sound of bamboo being split. The way of (using your right) hand is important.
Catch, pull, grasp, strike. Perform these four movements rhythmically and use harai goshi to
decide the fight at the end.
Manaka Unsui

34

YUME MAKURA (Dream Pillow)

(U) right jodan tsuki


Left jodan uke.
(U) left jodan tsuki
Right jodan uke.
(U) right zenpo keri
Left Gedan uke.
(U) right jodan tsuki
Right jmonji dori.
Your left hand takes hold of (U) right wrist, and the left hand takes (U) elbow.
Step back and bring the arm into a form of oni kudaki.
Change the grab from backward to forward, push on the elbow, and pull on the wrist
so that (U) arm opens straight.
Hold (U) arm straight against his chest, fall backward taking (U) arm with you.
Roll over (U) back, hold him in gyaku.
This is knows as the pillow of dreams. It is a movement for when one is not wearing armor. Look
closely at this. The last fist is also blocked with a cross block. From there, taking the attackers
wrist and elbow moves into a back throw, but doesnt work. Then, moving in with dream pillow,
one falls down. However, when clad in armor, it is very dangerous for one to fall down. Thus, in
the variation for when wearing armor, as can be seen further on, one does not do anything that
would make one fall. One moves into a back throw. If it does not work, one cannot, when wearing
armor, fall down in this way of ones own accord.
Kumi uchi with swords. The opponents grind their saya. From there, when ones sword is
knocked down, in close combat, the kabuto wari is effective. Deliver a crushing blow to the
opponents wrist. Then execute a vital point attack on his elbow with the kabuto wari. Then
applying gyaku, step back and pull down. Then strike into the opponents face using the kabuto
wari. When the opponent has been struck down, straddle him, lift his visor, and stab into his
throat.
Quote from Hatsumi Senseis video
The techniques meaning id doing te makura (resting your head on your hand) so that you will be
able to have good dreams. Receive the right punch with jmonji (crossed arms) and switch from
ippon zeoi to te makura. At this point lift up with your left hand. If you do not, you will be choked,
so pay careful attention to this.
Manaka Unsui

35

SUSO SABAKI (Moving the Hem)

(U) right jodan tsuki


Left jodan uke.
(U) left jodan tsuki
Right jodan uke.
(U) right keri
Left gedan uke.
(U) right tsuki
Left jodan uke.
From the block move outside of (U) hand, take hold of (U) wrist in ura gyaku with the
right hand from above.
Left hand grabs the flesh on (U) shoulder, your body turns to the right of the arm.
Right leg steps over (U) right leg, and you attempt to throw (U).
(U) does not let himself be thrown
Counter by stepping back with the left leg and applying pressure to the shoulder
(ryumon) with the wrist, and a take ori moving up and down to break the wrist.
The meaning of the technique comes from the footwork, which makes the hem of your legwear
flutter. Using body movements to the left and right, finish with koshi nage. If your legs stop
moving, the technique will not work, so pay attention to this.
Manaka Unsui

36

ISO GAESHI (Turning Over on the Shore)

(U) right jodan tsuki


Left jodan uke (U) kote
(U) left jodan tsuki
Right jodan uke (U) hoshi.
(U) right keri
Left gedan uke (U) kaku.
(U) right jodan tsuki
Right fudoken (U) kaku.
(U) right jodan tsuki
Left jodan uke (U) kote.
Right hand applies omote gyaku from the fudoken, from underneath (keep the omote
gyaku close the body).
Walk in with the right foot, put your right elbow on top of (U) right elbow.
Step out with the right foot, press down with the right elbow, dropping (U).
The techniques meaning is tossing forward and back the way waves batter against a shore.
With large body movements to the left and right, toss your opponent atop a wave and in the end
decide the fight with koshi nage.
Manaka Unsui

37

KAZE HARAI or FU SHOKU (Wind Sweep)

(U) grabs with the left hand, strikes with the right
Place your right palm under (U) elbow, press up, left jodan uke to (U) jakkin or
wakiboshi.
(U) right keri
Your hand moves from the elbow to (U) hand, gedan uke.
(U) right jodan tsuki
As (U) strikes you change from a right to a left ura gyaku, strike with the right elbow
to (U) uko or butsumetsu.
Walk under (U) arm (still keep ura gyaku) until you are behind (U).
Place your right hand on (U) shoulder.
Sokushi keri (U) buda.
The meaning of the technique is to blow the opponent away in a single gust of wind. It is a
technique in which, attacking the wrist joint, you finish with katate nage (a one-handed throw).
Your body position when doing katate nage is important. You must not move away from the
opponent.
Manaka Unsui

38

KURUMA DORI (Wheel Capture)

(U) grabs your collar with the left hand, strikes with right jodan tsuki
Check (U) elbow, push up on it, do left jodan uke.
Right keri.
Change from an elbow check to a hand check, left gedan uke.
(U) right jodan tsuki
Left jodan uke, grab (U) wrist.
Step across to left with right foot.
Right hand comes under (U) grabbing arm, so that the shoulder or right bicep
presses against the elbow.
Apply pressure in this way to drop (U).
NOTE: Do not let the grabbing hand turn or you could lose control.
The name of the technique means to spin an opponent list a wheel and throw him. Using a wrist
reverse to break balance put your hips in deep enough then throw the opponent like a wheel. It is
important to pull sideways on the wrist which is reversed.
Manaka Unsui

39

KIMON (Demon Gate)

(U) in Seigan, (T) in Hira No Kamae


(U) right jodan tsuki
Left jodan uke.
(U) left jodan tsuki
Right jodan uke.
(U) right keri
Left gedan uke.
(U) left jodan tsuki
Right gedan uke.
Immediately after the last block, apply musha dori to (U) left arm.
Spin around onto left knee, drop (U) onto back.
The meaning of the technique is a throw from a hated, detested direction. Locking the elbow
joint, throw with muso dori. At this point it is important to open the body up.
Manaka Unsui

40

URA KIMON (Inside Demon Gate)

This starts the same as Kimon, but with two kicks, then left jodan tsuki
Immediately apply right oni kudaki to (U) left arm, kick with the right foot to (U) groin.
Finish with osoto gake or nage.
The meaning of this technique is the same: to throw from a hated, detested direction. Catching
the elbow joint as in oni kudaki, you throw with osoto gake. The relation between the right and left
hands is important.
Manaka Unsui

41

UKI MO (Seaweed/Floating Algae)

(U) in Seigan, (T) in Hira No Kamae


(U) right jodan tsuki
Left jodan uke.
(U) left jodan tsuki
Right jodan uke.
(U) right keri
Left gedan uke.
(U) left keri
Right gedan uke.
(U) right jodan tsuki
Left jodan uke.
Immediately apply oni kudaki to (U) right arm, kick with the right foot to the groin
Grab (U) collar with the right hand, turn and throw with seoi nage, or apply a shime
waza.
This techniques meaning is to throw the opponent lightly and without effort, like seaweed
floating on the waters surface. Catching the elbow on the principle of oni kudaki, end by throwing
with gyaku seoi nage.
Manaka Unsui

42

RANP (Disordered Wind)

This starts the same as Uki Mo


Apply oni kudaki to (U) right arm, kick with the right foot into (U) groin.
Grab (U) in kumi uchi, throw with seoi nage. While (U) is still in the air, step from
under (U) for taki otoshi.
Settling something once then twice, like a wind that is indecisive and changes direction. As
before, lift the opponent onto your back then put your right knee down and put him on your back
again.
Manaka Unsui

43

OKUDEN NO KATA (Inner Transmission Forms)

F SETSU (Wind and Snow)

(U) right jodan tsuki


Left jodan uke.
(U) left jodan tsuki
Right jodan uke.
(U) right keri
Left gedan uke.
(U) left keri
Strike with a fudoken into (U) leg.
(U) right jodan tsuki
Block with jmonji dori, apply oni kudaki.
Straighten (U) arm, go underneath counter-clockwise (take hold of (U) shoulder with
the left hand).
Kick with a right kakato keri to (U) inside right thigh, then step back with the right foot
to throw (U) face down.

44

GONGI (Authority Technique/Power Technique)

(U) right jodan tsuki


Left jodan uke.
(U) left jodan tsuki
Right jodan uke.
(U) right keri
Left gedan uke.
(U) left keri
Punches with fudoken into (U) thigh.
(U) right jodan tsuki
Jmonji dori to (U) right arm, apply oni kudaki.
Right kick to (U) groin.
Places your right foot between (U) legs, drop to your left knee, pivot on it to the left,
throwing (U) with the oni kudaki still applied.

45

KAESHI WAZA (Reversing Technique)

(U) right jodan tsuki


Left jodan uke.
(U) left jodan tsuki
Right jodan uke.
(U) right keri
Left gedan uke.
(U) left keri
Strike with fudoken into (U) thigh.
(U) right jodan tsuki
jmonji dori, apply oni kudaki.
Switch this to musha dori.
Kick backward with right kakato geri to (U) stomach.
Drop your foot down, spin around to the right (going down) while applying shime
waza.

46

ONI OTOSHI (Demon Drop)

(U) right jodan tsuki


Left jodan uke.
(U) left jodan tsuki
Right jodan uke.
(U) right keri
Left gedan uke.
(U) left keri
Strike with fudoken into (U) thigh.
(U) right jodan tsuki
Jmonji dori, apply oni kudaki, which is then changed to musha dori.
Kick with the shin to (U) groin.
The same leg throws with osoto nage.

47

IWA KUDAKI (Breaking Rocks)

(U) right jodan tsuki


Left jodan uke.
(U) left jodan tsuki
Right jodan uke.
(U) right keri
Left gedan uke.
(U) left keri
Strike with fudoken to (U) thigh.
(U) right jodan tsuki
Left jodan uke, right chinken (U) face. The left hand at the same time grabs (U) wrist.
Place your hips near (U)s, throw with osoto nage.
NOTE: Slam the hips in hard!

48

SETSUT (Snow Topple)

(U) right jodan tsuki


Left jodan uke.
(U) left jodan tsuki
Right jodan uke.
(U) right keri
Left gedan uke.
(U) left keri
Strike with fudoken to (U) thigh.
(U) right jodan tsuki
Left jodan uke, grab (U) wrist as your right hand strikes with fudoken into (U) right
bicep.
Right shin kick to (U) groin.
Push (U) arm in and down while grabbing the shoulder with the right hand.
Step back with the left foot, and down to the knee, pulling (U) with you.

49

GT (Defeating Strength)

(U) right jodan tsuki


Left jodan uke.
(U) left jodan tsuki
Right jodan uke.
(U) right keri
Left gedan uke.
(U) left keri
Strike with fudoken to (U) thigh.
(U) right jodan tsuki
left jodan uke, grab (U) wrist.
Grab (U) right shoulder with your right hand.
Step in and under, knocking (U) up with a hip strike, then step out to the left so that
(U) falls.

50

DOF (Wind Catches)

(U) right jodan tsuki


Left jodan uke.
(U) left jodan tsuki
Right jodan uke.
(U) right keri
Left gedan uke.
(U) left keri
Strike with fudoken to (U) thigh.
(U) right jodan tsuki
Left jodan uke, grab (U) wrist.
Keep (U) arm straight while you strike with right ura shuto (U) kasumi.
Kick with the shin to (U) groin, continue the foot through between the legs, hooking
(U) furthest leg upward.
NOTE: Grab the shoulder with the right hand, and push while sweeping the foot away. (U) right
palm must be up to stop the arm from hitting you.

51

ONI KUDAKI (Breaking the Demon)

(U) right jodan tsuki


Left jodan uke.
(U) left jodan tsuki
Right jodan uke.
(U) right keri
Left gedan uke.
(U) left keri
Strike with fudoken to (U) thigh.
(U) right jodan tsuki
Jmonji dori, apply oni kudaki.
Shin kick to (U) groin, place it behind (U) right leg for osoto gake.
NOTE: For the final throw, turn to the left. Be careful. This is almost exactly the same as Ura
Nami from the chuden no kata.
With yoroi kumi uchi body movement, take the opponents right punch into oni kudaki. Take if
from jmonji. From there, by maneuvering the body and moving the legs, make the technique
effective. Take a powerful hold on the opponents elbow and shoulder joints. Then take down.
In spear fighting, when you have knocked down the opponents spear (with a strong blow) and he
goes to draw the sword, crush his wrist by hitting with the spear. Taking out his wrist and right
arm, take the right arm into oni kudaki with the spear as a fulcrum. When you have brought the
opponent down, look for an opening and thrust in.
Taking the opponents arm with the spear, apply oni kudaki, then push with the body.
Quote from Hatsumi Senseis video

52

RY FU or YANAGI KAZE (Willow Wind)

(U) right jodan tsuki


Left jodan uke.
(U) left jodan tsuki
Right jodan uke.
(U) right keri
Left gedan uke.
(U) left keri
Strike with fudoken to (U) thigh.
(U) right jodan tsuki
left jodan uke.
(U) Grabs you and attempts seoi nage
Drop your hips, and strikes (U) with boshiken to shichibatsu.
Jump around to the front of (U), strike with the right elbow into (U) chest.
Take hold of (U) left arm with your right hand.
Your left hand comes up under (U) right arm, grab (U) collar.
Go under (U) right arm, throw with nagare.
Kick (U) when he is down.

53

TACHI UCHI (Standing Strike)

(U) right jodan tsuki


Left jodan uke.
(U) left jodan tsuki
Right jodan uke.
(U) right keri
Left gedan uke.
(U) left keri
Strike with fudoken to (U) thigh.
(U) right jodan tsuki
Left jodan uke.
(U) grabs you and attempts to throw with seoi nage.
Drop your hip and strike with boshiken to (U) shichibatsu.
With the boshiken, push (U) away and go behind (U), grab the flesh at butsumetsu.
Turn and throw (U).
NOTE: For the butsumetsu grab, dig the thumbs in. Throw from the side so (U) will not fall off.
Beware of this technique, as the throw will break the neck.

54

HANE TAOSHI (Leaping Knockdown)

(U) right jodan tsuki


Left jodan uke.
(U) left jodan tsuki
Right jodan uke.
(U) right keri
Left gedan uke.
(U) left keri
Strike with fudoken to (U) thigh.
(U) right jodan tsuki
Left jodan uke
(U) grabs and attempts seoi nage.
Drop the hips, boshiken (U) shichibatsu.
(U) turns to face you
Ryote koppoken (U) uko. This makes (U) arc his back.
Throw with osoto nage.

55

SHIRABE MOGURI GATA (Sinking Forms)

MOGURI DORI (Submerging Capture)

(U) right jodan tsuki


Left jodan uke.
(U) grabs your blocking wrist
Step in with right keri. As this comes to the ground, step in with the right foot and right
ura shuto to uko.
Place your right foot behind (U) right foot, and placing the hips together, throw (U).

56

SHARIN (Axle)

(Defense against Moguri Dori.) Uke becomes Tori, and vice versa.
As (U) places hip to throw, push your right thigh up under (U) thigh.
(U) right hand then comes up to your neck, and the left goes around the back to grab your left
shichibatsu
Drop to your left knee, pulling (U) over it, using the hands to help.
NOTE: For this technique to work properly, (U) and (T) must be in a straight line.

57

KO FUKI (Tiger Takedown)

(T) in Hira No Kamae, (U) in Seigan No Kamae


(U) right tsuki
Left jodan uke (U) ura kote.
(U) left jodan tsuki
Block to hoshi, komi hiki (U) ude.
Takes (U) right yubitsubo, right shakoken (U) asagasumi.
Shitanken (U) kuchi.
Right sokugyakuken (U) suzu.
Throw with osoto nage.

58

RY FUKU or RYU BUSE (Dragon Takedown)

(U) right Jodan tsuki


Left jodan uke.
(U)left jodan tsuki
Right jodan uke, grab (U) collar with your right hand (with a right step forward), left
hand grabs the right sleeve.
(U) grabs you in the same fashion and attempts to throw with seoi nage
Drop your body weight, right fudoken (U) groin.
Right fudoken top of (U) right thigh, at the same time left fudoken back of (U) ribs.
Pull (U) into a standing position
Grab (U) left bicep with your right hand and (U) right bicep with your left hand.
Kikakuken (U) chest.
Right leg goes inside of (U) legs, hooking back on the left leg, pushing (U) to the
ground.
Look at this as the sui no kata dakentaijutsu of yoroi kumi uchi. Completely block the first and
second strike. When the opponent comes in for a hip throw, drop your hips to avoid his throw and
strike into his hips. Then, clipping the legs and hitting into the face, take down. Against the
opponents throw, drop the hips and strike in. It is most important here to strike into the
opponents torso. Taking hold of the torso, one may also pull him down.
Kumi uchi between sword and naginata. Look at this also with taijutsu as the base. Come in
against the opponents cut and take his naginata. Then strike into the opponents vital points with
the butt of the sword. Then apply gyaku to the opponent by moving up with the sword from below,
destroying the balance of the opponents body. Pushing with the body, take out the opponents
legs and push him down.
Quote from Hatsumi Senseis video

59

TOBI CHIGAE (Walking Jump)

(U) right jodan tsuki


Left jodan uke.
Move to outside of (U), do another jodan uke (right) to the back of (U) hand.
Steps on (U) right foot with your right foot.
With (U) right arm away from you (across the front of (U) body), strike with a right
boshiken to (U) butsumetsu.

60

YAMA OTOSHI (Mountain Drop)

(U) right jodan tsuki


Left jodan uke, grab (U) wrist.
Place your right hand on (U) left shoulder and push your thumb into (U) neck.
Turn your right hand into shakoken (U) face.
Step behind (U) right leg with your right leg.
Throw (U), keeping hold of the wrist with your left hand.

61

T RAKU (Strike Down)

(U) holds you in kumi uchi (left hand holds the collar)
Check the collar grab with your right hand, hold (U) arm with your left hand.
Step to the right, drop your right hand down under (U) left arm.
Right hand comes up and the palm is placed under (U) elbow.
Yoko aruki to the right, left hand grabs the bicep of (U) left arm.
Step back with the left foot, drop to the left knee, pulling (U) down onto his front.

62

SH T (Dissolve Hitting Down)

(U) in Seigan, right jodan tsuki


Block to (U) ura kote.
(U) counters this block by also blocking to your hidari ura kote with the left hand
Grab (U) collar with your left hand.
Osoto nage.
(U) tai otoshi to counter with a front koho sabaki.
(U) right age fudoken to your left doki, right age happaken to asagasumi.
Counter block to (U) ura kote, right fudoken (U) kage.

63

MUSASABI (Mongoose)

(U) right jodan tsuki


Left jodan uke.
(U) counters by moving his right arm under your left arm for ganseki nage.
Right boshiken (U) right koe.
(U) steps out with the right leg to escape the boshiken
Grab (U) right wrist with your left hand, right shoulder with the right hand.
Migi geri (U) suzu.
From the kick, place the right foot on (U) right knee (inside).
Pull (U) wrist, push (U) shoulder, kick (U) leg away for uchimata.

64

TAMA NAGE (Jewel Throw)

(U) right jodan tsuki


Left jodan uke.
(U) continues his tsuki by moving his right arm under your arm for ganseki nage.
Counter by striking (U) right koe with right boshiken.
(U) steps out with the right foot to escape the boshiken
Grab (U) right wrist with your right hand from underneath into omote gyaku, grab (U)
right elbow with your left hand.
While putting pressure on (U) elbow, change the omote gyaku to ura gyaku, grab top
of (U) breast bone with your right hand.
Step behind (U) right leg for osoto nage.
NOTE: If changing the hands is too risky, throw instead with gyaku nage.
Against migi tsuki
Move back low, block and grab with left hand (moving right leg slightly/half step
forward).
(U) reacts by taking ganseki nage
Push forward with your left knee into (U) right leg (rear).
Take a slight step with your right foot, hit upward to avoid.
Go under flaps/skirt of armor, strike right koe with your right fist.
(U) moves back with right leg
Catch (U) straightened right arm inside your left arm, ride your right arm up under (U)
armor to grab his right shoulder.
Move around (can use yoko aruki) and turn (U) right arm out (little finger upwards ura gyaku, but not to be confused with the lock).
Use right foot behind (U) right leg to hook back and around clockwise in ura
mawashi-type action, 90 degree into horse stance type position (keeping low
because of wearing armor. This throw is called makikomi harai).
Kneel on the right side of (U) face/neck while still holding (U) left hand.

HENKA
As you go to throw with makikomi harai, (U) stiffens or drops his weight to prevent you from
throwing. Hit up with rotation of right forearm through hips (turn counter-clockwise) and knees to
hit twice as you go down on your left knee (backward) to throw/knock (U) backwards.

65

GYAKU NAGE (Reverse Throw)

(U) right jodan tsuki


Left jodan uke.
Immediately grab (U) wrist with your left hand and the right shoulder with your right
hand.
Attempt to kick (U) in suzu.
(U) as (T) does this (U) left jodan tsuki
Step back with the right foot (from the kick), right gedan uke.
Grabs back of (U) right hand with your right hand.
Left shitanken (U) face.
(U) now has his right hand free, and blocks with right jodan uke
(U) right jodan tsuki
Left jodan uke, grab (U) wrist with your left hand.
From the left wrist grab, shitanken (U) jinchu.
Place your right leg behind (U) right leg for osoto nage.

66

UCHI HARAI (Sweeping Strike)

(U) right jodan tsuki


Left jodan uke, followed by shitanken to (U) face.
Step forward with the right foot, shitanken (U) face.
Right zenpo keri.
(U) left gedan uke, right jodan tsuki
Left jodan uke, shitanken (U) face.
Quickly step forward with right foot, fudoken (U) butsumetsu.
Right arm moves under (U) left arm, left hand grabs (U) right arm.
Right foot goes behind (U) right foot, throw (U).
This is called uchi harai. Imagining that you are wearing armor, strike at the gaps in the armor
with the ridge of the hand. Or, punch or kick. In all cases, it is crucial to attack the gaps. In this
way, attack the face and mouth with the shitoken.
Quote from Hatsumi Senseis video

67

Kukishinden Ryu Happo Biken

Published and produced by


Takamatsuden Books

Disclaimer
Please note that Takamatsuden Books are NOT RESPONSIBLE in
any manner whatsoever for any injury that may result from practicing
the techniques and / or following the instructions given within. Since
the physical activities described herein may be too strenuous in
nature for some readers to engage in safely, it is essential that medical
advice is sought prior to any training.

All rights reserved. No part of this publication may be reproduced or


utilized in any form or by any means, electronic or mechanical,
including photocopying, recording, scanning, or by any information
storage and retrieval system, without prior written permission from
Takamatsuden Books.

Takamatsuden Books 2010

Kukishinden Ryu Happo Biken

Kukishinden Ryu Happo Biken


(Nine Demon Gods Transmission School Eight Methods Of Secret Sword)

Takamatsuden Books 2010

Kukishinden Ryu Happo Biken

Mokuroku (Catalogue)

Kukishinden Ryu Happo Biken


(Nine Demon Gods Transmission School Eight Methods Of Secret Sword)

Kenp (Fencing)

Kamae (Postures)

Jodan no kamae

(Page 06)

Seigan no Kamae

(Page 06)

Chdan no Kamae

(Page 07)

Gedan no Kamae

(Page 08)

Tenchi no kamae

(Page 08)

Ichi no Kamae

(Page 09)

Kasumi no Kamae

(Page 09)

Takamatsuden Books 2010

Kukishinden Ryu Happo Biken

Kasumi no Ho

(The Principle Of Haze)

(Page 10)

Kihon Kiri (Basic Cutting)

Karatake Wari

(Page 10)

D Giri

(Page 11)

Kesa Giri

(Page 11)

Gyaku Kesa Giri

(Page 11)

Tsuki

(Page 12)

Hiken no Ho (Way of the Secret Sword)

1.

2.

3.

4.

Tsuke-Komi

(Page 13)

Say Gyaku

(Page 13)

Tsuki-Kake

(Page 14)

Say Gyaku

(Page 14)

Kiri-Age

(Page 15)

Say Gyaku

(Page 15)

Kiri-Sage

(Page 15)

Say Gyaku

(Page 16)

Takamatsuden Books 2010

Kukishinden Ryu Happo Biken

6.

7.

8.

9.

10.

5.

Kasugai Dome (Kinshi) (Page 16)


Say Gyaku

(Page 17)

Koch-gaeshi

(Page 17)

Say Gyaku

(Page17)

Shih-Giri

(Page 18)

Say Gyaku

(Page18)

Happ-Giri

(Page 19)

Say Gyaku

(Page 19)

Tsuki no Wa

(Page 19)

Say Gyaku

(Page 20)

Fud no Ken

(Page 20)

Engeki-Buchi

(Page 20)

Himy-Ken

(Page 20)

Takamatsuden Books 2010

Kukishinden Ryu Happo Biken

Kamae (Postures)

Jodan no kamae (Upper Level Posture)

The feeling for this Kamae is to pound the Uke down to the ground in
the space of one breath with a very strong intention.
The lower body is the same as with Seigan no Kamae only you
switch feet (left foot forwards instead of the right foot). The sword is
held at a 45 degree angle above your head your left hand should be
parallel to the top of your forehead and about a fists width away from
it your right hand is directly above your crown. All points on your
grip and points on Kamae correction can be found in the description
for Seigan no Kamae.

Seigan no Kamae (Correct Eye Posture)

The intention with this Kamae is to control and manipulate the Uke
with your strategy and make him attack where you want him to. You
do this by moving the kissaki very slightly to create openings for the
Uke to attack. This is Kyojutsu. You should also have the feeling is
of stabbing at the Ukes eyes if you want to keep him away. Point
the tip of the sword so that it is on the line between yours and the
Ukes eyes. Keep your elbows in and hold your left hand near your
right hipbone, about 1 fist width away. Keep your grip on the tsuka
loose.

Takamatsuden Books 2010

Kukishinden Ryu Happo Biken

The feet are approximately 2 to 3 feet apart with your heels paralell.
The front foot (right) is pointed straight forwards. The back foot
(left) points 45 degrees to the rear. Lower your centre of gravity as
much as is comfortable (this takes time). Your knees should hide
your feet if you are looking down (important point). Make sure the
knees are not buckling inwards to take the strain. This will hurt
initially but the pain is temporary and, if practiced correctly, will
build strong legs. This is an important point. Your back is straight
with this Kamae. Make sure your backside is not sticking out. This
is a common mistake and should be corrected from the start. Your
weight should be about 60/40 to the rear. Keep your shoulders
relaxed and do not hunch them. Point the tip of the sword so that its
pointed at the Ukes eyes (imagine a straight line going from the
tsuka, up the blade and straight to the Ukes eyes this is correct) .
Keep your elbows in and hold your left hand near your right hipbone,
and the right hand should hold the tsuka with the feeling of just
gripping lightly with your ring and middle fingers. This is an
important point. Keep your neck and head straight and relaxed and
pointing towards the Uke. Do not tilt your head to the side. This is a
common mistake and should be corrected from the start. Fix your
eyes on the Uke. Take all tension out of your body and relax, and
remember to keep your grip on the tsuka light.

Chdan no Kamae (Middle Level Posture)

The feeling with this Kamae is Mu (emptiness). The intention with


this Kamae is to drive the kissaki through the Ukes heart with a very
powerful will.
The tsuka follows the line of the right forearm. The only difference
between this Kamae and Seigan no Kamae is your left hand raises
slightly to place the kissaki towards the Ukes heart. Other than that,
all the points are the same.

Takamatsuden Books 2010

Kukishinden Ryu Happo Biken

Gedan no Kamae (Lower Level Posture)

This Kamae is done with a feeling of making the Uke stop or hesitate
with the intention to stab the Ukes foot at the Kyusho called Toki.
Keeping the weight slightly further back is important in this Kamae.
From Chudan no Kamae, keep the left hand in the same position and
lower the right hand so that the kissaki points to Toki on the Ukes
foot. Stare the Uke firmly in the eyes. Apart from these differences,
the kamae is the same as the previous.

Tenchi no kamae (Heaven And Earth Posture)

This Kamae can be done against any attack beating the Uke down
with one or two attacks.
Point the kissaki at the heavens and keep your right hand next to your
right ear. The left and right hands hold the sword very lightly, as if
you were just keeping the sword steady. The left foot is forwards and
the right foot points to the right. The feet should be about 30 to 40
centimetres apart. Your body is upright. You should drop your hips
slightly and keep your shoulders relaxed, and do not hunch them.
Take all tension out of your body and relax, and remember to keep
your grip on the tsuka light. Your neck and head are straight and
relaxed and pointing towards the opponent. Do not tilt your head to
the side. This is a common mistake and should be corrected from the
start. Fix your eyes on the Uke. (This can easily become Dai Jodan
no Kamae also).

Takamatsuden Books 2010

Kukishinden Ryu Happo Biken

Ichi no Kamae (Figure One Posture)

To change or adjust at will to move freely in any direction


From Seigan no Kamae, rock your weight forwards until your front
lower leg is perfectly vertical (your upper body is the same as Seigan).
Push your left hand forward and keep your right hand where it is
this will bring your sword to a vertical position also. The sword,
your lower front leg and your foot should all be on the same vertical
line. Now raise the sword up so that the Tsuba is about chin level.
That is the basic Kamae. You can also stand with your left leg
forwards instead of your right leg (similar to Tosui no Kamae from
the Togakure Ryu) or with both legs central (like Shizen no Kamae.
The sword remains in a central / vertical position. The Idea with this
kamae is to use the blade and the Tsuba like a crosshair to study the
Uke.

Kasumi no Kamae (Haze Posture)

The feeling with this Kamae is to show an opening which invites the
Uke to attack. The target that you should offer is your midsection.
This is a Kamae of Kojitsu. Stare vacantly at the Ukes forehead so
as to hide your true intentions. Your Kamae for this is similar to
Seigan no Kamae from the waist down, only your weight should be
just slightly to the rear. The sword is held horizontally above the
head, with the tip pointing to the left if the left foot is forward or the
right if the right foot is forward. The sword should be held above
your head. Make sure that your arms do not obscure your face. At
most, they should just cover the chin. Apart from these differences,
refer to Seigan no Kamae for the finer points of this Kamae. You

Takamatsuden Books 2010

Kukishinden Ryu Happo Biken

10

should make a point of offering your stomach as a target for the Uke
to attack this is important.

Kasumi no Ho (The Principle Of Haze)


Contained within the Kasumi no Ho is the correct attitude for
learning and using the sword. It is important to only use strength at
the very last moment at all other times you should remain relaxed
and calm. This will allow you to endure long periods of fighting
tire your enemy out whilst conserving your energy. You should
firstly defeat the enemys spirit, secondly his technique and lastly you
defeat his body. Using Kasumi no Ho, you can defeat multiple
enemys without tiring.

Kiri Kihon (Basic Cutting)


What is important to remember when cutting is to avoid overextending your cut. At the point where the cut finishes, do not carry
on cutting as this will leave you open to attack. The feeling of being
able to respond to any attack after performing every cut is important.

Karatake Wari

(Chinese Bamboo Cut)

This is a cut straight down to the head. From Dai Jodan no Kamae,
shift your weight forwards onto your left foot and begin to bring the
sword down in an arc as you feel your right heel starting to lift from
the floor, step forwards with the right foot and keep your posture low.
As your right foot lands and drops, the sword cut should end.

Takamatsuden Books 2010

Kukishinden Ryu Happo Biken

11

D Giri

(Torso Cut)

This is for cutting across the Ukes body. From the end of the last
movement step forward with your left foot (again, posture low) turn
your sword counter-clockwise (drop the tip to the left) so that the
sword is horizontal and your right wrist is over you left wrist and
perform your cut across the Ukes torso (blade slices across the Ukes
right side ribs). Again, it is important to stop the cut at the point that
the sword would exit the Ukes left side ribs. Also perform this cut
on the other side.

Kesa Giri)

(Stole Cut)

Kesa (stole) refers to the Buddhist stole worn by priests your cut
starts at the shoulder and finishes at the opposite side hip.
From the last movement (left foot forward) step forward with your
right foot during the transition of this movement (right wrist still
over your left) bring both wrists up above your head and the side of
the blade runs parallel to your left forearm (blade edge should be
pointed behind you this acts as a shield as you transition between
cuts). From this point, bring the sword down in a diagonal arc
starting at the Ukes left shoulder, down to the right hip (again the cut
stops there dont carry on)

Gyaku Kesa Giri

(Reverse Stole Cut)

From the last movement (right foot forwards) step forward with your
left foot during the transition of this movement use your left hand
as a pivot and turn the sword up and over counter- clockwise on your
left side with your right hand (right wrist will be on top of your left
wrist blade on the outside). As your left foot comes forward, bring
the sword up diagonally in an arc, cutting through the Ukes right hip
through to the left shoulder.

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Kukishinden Ryu Happo Biken

12

Tsuki

(Thrust)

From Seigan no Kamae shift your weight forward onto your leading
foot (right foot) and thrust the tip of the sword into either the Ukes
torso or throat.

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Kukishinden Ryu Happo Biken

13

Hiken no Ho (Way of the Secret Sword)

The meaning of Sayu Gyaku is a variation on the previous kata.

Tsuke-Komi (Entering)
The Uke begins from Daijodan no Kamae. Begin from Seigan no
Kamae. Stare into the Ukes eyes with a strong intention of piercing
him through his breast as you advance, push the Uke back with this
intent. Lower your sword slightly towards Chudan no Kamae to
invite the Uke to cut. The Uke begins to attack with Karatake Wari.
At the instant the Uke begins this attack Kiai this will startle the
Uke for a split second. Take this advantage and step in deep with
your right foot and kneel down to you left knee and thrust the sword
powerfully through the Ukes breastplate. You must keep your arms
straight with the sword as you do this.

Say Gyaku (Opposite Position)

The Uke begins from any Kamae. Begin from Ichi no Kamae. As
your sword is perpendicular to yours and the Ukes face, this leaves
the Uke with the choice of attacking either to the left or the right side.
If the Uke attacks to your left side, step 45 degrees to the right with
your right foot and drop your hips with the feeling of hiding behind
your sword you do not have to knock the Ukes sword to the left,
rather evade and shield with the left side of your blade (if you choose
to knock the Ukes sword to the side, then do not make a big

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Kukishinden Ryu Happo Biken

14

movement of it stop your sword upon impact). Then, step in with


your left foot and cut the right side of the Ukes neck with a pushing
cut. If the Uke attacks to your right side, just do the same technique
but on the opposite side.

Tsuki-Kake (Thrusting)
The Uke begins from Daijodan no Kamae. Begin from Seigan no
Kamae. You perform the previous technique (Tsuke Koni). The
Uke evades the final thrust by stepping back. Remain in a
kneeling position and follow the Uke by stepping forward with
your left foot and putting your right knee down and finish with a
horizontal cut to the Ukes right side.

Say Gyaku (Opposite Position)

The Uke begins from Daijodan no Kamae. Begin from Gedan no


Kamae. The Uke begins to attack with Karatake Wari. At the
instant the Uke begins this attack, Kiai, bring your weight to the
front leg (bring your back leg forwards slightly) and flick the
Kissaki (tip of the sword) towards the Ukes eyes by pushing
down on the Tsuka with your left hand this will startle the Uke
for a split second. Then there are three options
1. Step in with your right foot and cut across the Ukes ribs right to left (Ukes left side)
2. Step in with your left foot and cut across the Ukes ribs - left
to right (Ukes right side)
3. Step in with either your left or right foot and thrust the sword
powerfully through the Ukes breastplate.

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Kukishinden Ryu Happo Biken

15

Kiri-Age (Cutting Up)

The Uke begins from from Daijodan no Kamae. Begin from Chudan
no Kamae in a state of Mu. The Uke attacks with Karatake Wari. In
response to this attack, step to the side and slightly forwards to the
left with your left foot and at the same time turn your wrists counter
clockwise to turn the edge of your sword to the right side. From this
position cut upwards from under the Ukes right arm toward the left
shoulder (this will send the Ukes arms upwards). Re-align your
wrists and thrust your sword into the Ukes right side ribs whilst
stepping in with your right foot. The important point in this
technique is to study the correct use of the hands / wrists
characteristic to the Kukishin Ryu.

Say Gyaku (Opposite Position)

The Uke begins from from Daijodan no Kamae. Begin from Tenchi
no Kamae. The Uke attacks with Karatake Wari. Either pull your
right foot back one step, then back and to the right with your left foot
and immediately cut the left side of the Ukes abdomen with Gyaku
Kesa Giri or perform the same on the opposite side. Try to imagine
the power of the wind in a mountain storm blasting up from the lower
side of the Uke.

Kiri-Sage (Cut Down)

The Uke begins in Daijodan no Kamae. Begin from Tenchi no


Kamae. The Uke cuts down with Karatake Wari. You counter this
by stepping to the right with your right foot and bringing both swords

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Kukishinden Ryu Happo Biken

16

together to lock them Tsuba to Tsuba. This will create a pushing


situation between both of you called Tsuba Zeri Iai (keep your
posture low). At this point you must study the Ukes use of force and
wait for the correct time to attack. Take a large step to the right side
of the Uke with your right foot, turn your body towards the left and
cut to the Ukes left shoulder the feeling when doing this is of
pulling with your left elbow and pushing with your right

Say Gyaku (Opposite Position)

The Uke begins in Daijodan no Kamae. Begin from Tenchi no


Kamae. The Uke cuts down with Karatake Wari . Then either step to
the left with your left foot and cut up to the Ukes right side with
either Do Giri or Gyaku Kesa Giri or when you get to the point of
Tsuba Zeri Iai in Kiri Sage, bring your right elbow up to push the
Ukes sword up (step in as you do this), Kick with your right foot to
the Ukes torso to knock him back and as your foot lands, Tsuki to
finish.

Kasugai Dome (Kinshi) (To Stop And Clamp)


The Uke begins from from Daijodan no Kamae. Begin from Gedan
no Kamae with the feeling of stabbing his foot if he makes a move.
Begin to circle the Uke by moving to the right (use Yoko Aruki).
The Uke will naturally turn to follow your movement. Pull your left
foot back and bring the sword through Chudan to Jodan and then let
out a Kiai. The Uke attacks with Karatake Wari. Immediately leap
just to the right with the right foot (your body turns 180 degrees
counter-clockwise in mid air) and cut straight down onto the Ukes
wrists (Kote). The important point to this technique is to close the
distance between yourself and the Uke like a vice.

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Kukishinden Ryu Happo Biken

17

Say Gyaku (Opposite Position)

This is the same as Kasugai Dome with a different ending there are
2
1, The finishing cut is a rising cut underneath the Ukes wrists.
2, You finish by dropping the point of your sword back to Chudan,
step in with your right foot and Tsuki.

Koch-gaeshi (To Cut A Small Butterfly)


The Uke is in Seigan no Kamae. Begin in Daijodan no Kamae.
Circle the Uke to the right with Yoko Aruki. On the third step leap
around to the right (as in the last technique) and cut straight down to
the Ukes Kote. The main point of this technique is to study the
Ukes strengths or weaknesses in skill level. Within this technique
you must conserve energy and move lightly like a butterfly and
gently close the distance.

Say Gyaku (Opposite Position)


This is the same as Koch-gaeshi with a different ending there are 2

1, The finishing cut is Kesa Giri to the Ukes left shoulder.

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Kukishinden Ryu Happo Biken

18

2, Cut in as if cutting to the Ukes face (Metsubushi) and Tsuki


through the Ukes neck.
(For both cuts, its a circular leap way to the right)

Shih-Giri (Four Directional Cutting)


The Uke is in any Kamae. Begin in Tenchi no Kamae and move
freely. This is a technique of Sutemi (sacrifice) so discard all feelings
and emotions you must pay no heed to the Uke at all. Step in with
your right foot and cut Gyaku Kesa Giri to the Ukes left hip upto the
right shoulder, then step in with your left foot, reverse your wrists to
bring the sword over to your left side and cut Gyaku Kesa Giri to the
Ukes right Hip to the left shoulder then with a left step, Tsuki.
The main point is to keep moving forwards throughout the technique.

Say Gyaku (Opposite Position)


This is the same as Shih-Giri with a different ending there are 2
1, Instead of finishing with a Tsuki, finish with Karatake Wari to the
Ukes head.
2, Finish with a rising cut to the Ukes lower legs. This cut is called
Gyaku Suso Barai (either side is fine to cut from the Ukes
position and your position will determine the Taijutsu for this).

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Kukishinden Ryu Happo Biken

19

Happ-Giri (Eight Directional Cutting)

The feeling with this technique is to beat the Uke into the ground.
This is also a technique of Sutemi.
The Uke is in any Kamae. Begin from Tenchi no Kamae and move
freely to the right and close the distance. Step in with your right foot
and cut with Kesa Giri to his left shoulder. Then (refer to the Kesa
Giri explanation on page 11) raise your hands and then repeat the
same cut to his left shoulder.

Say Gyaku (Opposite Position)

This is the same as Happ-Giri only instead of the second Kesa


Giri, replace this cut with Karatake Wari to the Ukes head.

Tsuki no Wa (Ring Around The Moon)

The Uke is in any Kamae. Begin from Seigan no Kamae. Move


freely and advance in when you are in range of the Uke (
Itto Issoku One Sword, One Step) step in with your right foot and
thrust into his throat. Make sure the thrust is straight and natural.

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Kukishinden Ryu Happo Biken

20

Say Gyaku (Opposite Position)

This is the same as Tsuki no Wa with a different targets for the thrust
there are 2
1, Thrust to the ribs.
2, Thrust into the abdomen.

These last three techniques DO appear in the Densho and from


what we have been able to gather they discuss the correct attitude
and strategies for a real sword fight. At present we have no
further information on these techniques.

Fud no Ken (Immoveable Sword)

Kuden

Engeki-Fuchi (Attacking The Edge From Afar)

Kuden

Himy-Ken (Delicate Sword)

Kuden

Takamatsuden Books 2010

Kukishin Ryu Kodachi Dori

Published and produced by


Takamatsuden Books

Disclaimer
Please note that Takamatsuden Books are NOT RESPONSIBLE in
any manner whatsoever for any injury that may result from practicing
the techniques and / or following the instructions given within. Since
the physical activities described herein may be too strenuous in
nature for some readers to engage in safely, it is essential that medical
advice is sought prior to any training.

All rights reserved. No part of this publication may be reproduced or


utilized in any form or by any means, electronic or mechanical,
including photocopying, recording, scanning, or by any information
storage and retrieval system, without prior written permission from
Takamatsuden Books.

Takamatsuden Books 2010

Kukishin Ryu Kodachi Dori

Kukishin Ryu Kodachi Dori


(Nine Demon Gods School Small Sword Art)

Takamatsuden Books 2010

Kukishin Ryu Kodachi Dori

Mokuroku
(Catalogue)

Kukishin Ryu Kodachi Dori


(Nine Demon Gods School Small Sword Art)

Kamae
(Postures)

Seigan no kamae (Correct Eye Posture)

Naka Seigan no kamae (Side Correct Eye Posture)

Shizen no kamae (Natural Posture)

Kodachijutsu
(Small Sword Art)

Hich no Ken (3 ura gata)


(Flying Bird Sword)

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Kukishin Ryu Kodachi Dori

Shishi Geki (2 ura gata)


(Chinese Lion Attacks)

Jji Ken
(2 ura gata)
(Cross Swords)

Kamae
(Postures)

Seigan no kamae (Correct Eye Posture)


The feet are approximately 2 to 3 feet apart with about a 1 to 2 inch
gap between. The front foot (right) is angled very slightly to the left.
This is not noticeable to the Uke. The back foot (left) points 45
degrees to the rear. Lower your centre of gravity as much as is
comfortable (this takes time). Your knees should hide your feet if
you are looking down (important point). Make sure the knees are not
buckling inwards to take the strain. This will hurt initially but the
pain is temporary and, if practiced correctly, will build strong legs.
This is an important point. Your back is straight with this Kamae.
Make sure your backside is not sticking out. This is a common
mistake and should be corrected from the start. Your weight should
be about 60/40 to the rear. Keep your shoulders relaxed and do not
hunch them. Hold your right hand out at about chest height without
locking your elbow and point the tip of the Kodachi so that the
Kissaki is on the line between yours and the Ukes eyes. Keep your
left hand on your left hip. Keep your neck and head straight and
relaxed and pointing towards the Uke. Do not tilt your head to the

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Kukishin Ryu Kodachi Dori

side. This is a common mistake and should be corrected from the


start. Fix your eyes on the Uke. Take all tension out of your body
and relax, and remember to keep your grip on the tsuka light. An
important feature in this Kamae is that you rotate the Kissaki
clockwise (small circles) to confuse and frustrate the Uke in Japan
it is said that you can capture a dragonfly by rotating your finger, this
attracts the dragonfly to land on your finger. The intention with
Seigan no Kamae is to control the Ukes movement in any way you
wish.

Naka Seigan no kamae (Side Correct Eye Posture)


The feet are approximately 2 to 3 feet apart with about a 1 to 2 inch
gap between. The front foot (right) is angled very slightly to the left.
This is not noticeable to the Uke. The back foot (left) points 45
degrees to the rear. Lower your centre of gravity as much as is
comfortable (this takes time). Your knees should hide your feet if
you are looking down (important point). Make sure the knees are not
buckling inwards to take the strain. This will hurt initially but the
pain is temporary and, if practiced correctly, will build strong legs.
This is an important point. Your back is straight with this Kamae.
Make sure your backside is not sticking out. This is a common
mistake and should be corrected from the start. Your weight should
be about 60/40 to the rear. Keep your shoulders relaxed and do not
hunch them. Hold your right hand out at about chest height without
locking your elbow and point the tip of the Kodachi to the Ukes
heart. Keep your left hand on your left hip. Keep your neck and
head straight and relaxed and pointing towards the Uke. Do not tilt
your head to the side. This is a common mistake and should be
corrected from the start. Fix your eyes on the Uke. Place
tension/energy in the area called Tanden located 2cm below your
navel. Take the rest of the tension out of your body and relax, and
remember to keep your grip on the tsuka light. With this Kamae,
hold a strong intention of piercing the Ukes heart.

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Kukishin Ryu Kodachi Dori

Shizen no kamae (Natural Posture)


This Kamae is also known as Otonashi no Kamae (
Soundless Posture). In this Kamae stand naturally with your feet in
line with your body. Bend your knees slightly. Let your arms hang
naturally to your sides (the Kodachi is in your right hand). Stare at
the point just above the centre of the Ukes eyes with the intention of
inviting the Uke to attack you.

Kodachijutsu
(Small Sword Art)
The most important point to Kodachijutsu is practicing the techniques
with a feeling of Muto Dori (being unarmed). Even though
technically there is only 3 techniques treat this section as though
they were 10 techniques.

Hich no Ken (3 ura gata)

Kuden To attack in one instant the same way a bird of prey attacks
with force. It is important to move quickly to within the range of the
Uke. You should practice the Kata of Hicho no Ken with the feeling
of building up and storing energy, then releasing it in an instant. Use
quick, rapid jumping movements to enter.
The Uke begins in Bikenjutsu Dai Jodan no Kamae. Begin in Seigan
no Kamae. Rotate the tip of the Kodachi clockwise in small circles to
taunt and confuse the Uke. If the Uke advances you retreat, if the

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Kukishin Ryu Kodachi Dori

Uke retreats you advance. The technique begins in this way with
the Uke and the Tori trying to gain the psychological advantage. At
the point that you want the Uke to attack, expose the right side of your
back slightly to offer a target to the Uke do not make this obvious to
him. The Uke cuts in to your lower back (Do Giri). At the instant the
Uke commits to the cut, leap in clockwise with the left foot leading
as you do this you should strike in with the feeling of crashing into his
Tsuba with your Tsuba. Finish with a Tsuki (thrust/stab) into the
Ukes chest. You place your left hand on top of your right hand in
order to stabilise the Kodachi.
Ura Gata 1
The Uke begins in Bikenjutsu Seigan no Kamae. Begin in Seigan no
Kamae. Rotate the tip of the Kodachi clockwise in small circles to
taunt and confuse the Uke. If the Uke advances you retreat, if the
Uke retreats you advance. The technique begins in this way with
the Uke and the Tori trying to gain the psychological advantage. At
the point that you want the Uke to attack, expose your torso by
dropping your blade slightly to the right do not make this obvious to
him. The Uke thrusts in to your torso (Tsuki). At the instant the Uke
commits to the thrust, step in with the right foot, control the Ukes left
hand with your left hand and slice across the Ukes torso from left to
right (Nuki Do). As you do this, bring your left foot across in front of
and past your right foot (Yoko Aruki) and as your blade clears the
Ukes torso, place the Kissaki on his left side just under his ribs bring
your right foot around to the right to complete the Yoko Aruki and
thrust the Kodachi into the Uke to finish.
Ura Gata 2
The Uke begins in Bikenjutsu Hasso no Kamae. Begin in Seigan no
Kamae. Rotate the tip of the Kodachi clockwise in small circles to
taunt and confuse the Uke. If the Uke advances you retreat, if the
Uke retreats you advance. The technique begins in this way with
the Uke and the Tori trying to gain the psychological advantage. At
the point that you want the Uke to attack, invite the Uke to cut to the
left side of your neck by creating an opening do not make this
obvious to him. The Uke cuts to your neck (Kesa Giri). At the instant
the Uke commits to the cut, step in with the right foot and cut across
the underneath of the Ukes arms (Kiri Age - left to right), then

Takamatsuden Books 2010

Kukishin Ryu Kodachi Dori

immediately drop to your left knee and cut to the Ukes right knee
(kaku) whilst dropping down (Kiri Kaeshi right to left) to finish.

Ura Gata 3
The Uke begins in Bikenjutsu Gedan no Kamae. Begin in Seigan no
Kamae. Rotate the tip of the Kodachi clockwise in small circles to
taunt and confuse the Uke. If the Uke advances you retreat, if the
Uke retreats you advance. The technique begins in this way with
the Uke and the Tori trying to gain the psychological advantage. At
the point that you want the Uke to attack, expose your torso by
dropping your blade slightly to the right do not make this obvious to
him. The Uke thrusts in to your torso (Tsuki). At the instant the Uke
commits to the thrust, leap back to evade the Tsuki. Invite a second
cut by exposing your right side to the Uke again, do not make this
obvious to him. The Uke cuts in to your lower back (Do Giri). At the
instant the Uke commits to the cut, leap in clockwise with the left foot
leading as you do this you should strike in with the feeling of
crashing into his Tsuba with your Tsuba. Finish with a Tsuki
(thrust/stab) into the Ukes chest. You place your left hand on top of
your right hand in order to stabilise the Kodachi. It is crucial to know
your own distance very well in this technique.

Shishi Geki (2 ura gata)


Kuden Attacking with the power, strength and cunning of a lion
not letting your prey escape. It is important to assume an extremely
strong will and direct this at the Uke. Carry with you a spirit of
absolute strength with all these techniques.
The Uke begins in Bikenjutsu Dai Jodan no Kamae. Begin in Naka
Seigan no Kamae. Invite the Uke to attack you with Karatake Wari
(cutting straight down to your head). At the instant the Uke commits
to the cut, step in and slightly to the right with the right foot raise
your right hand and place your left hand on the back of the Kodachi
blade so as to angle the Kodachi diagonally down your left forearm

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Kukishin Ryu Kodachi Dori

(Kissaki at the lowest point to your left side this is the same as
Rokushakubojutsu Jodan Uke). The force of the Ukes cut will allow
the Kodachi blade to slice his own left wrist. To finish, take the Tsuka
(handle) of the Kodachi with both hands, slam your left foot down and
drop your weight as you cut straight down into the Ukes left wrist to
sever it (as if you were chopping wood start the cut at the Tsuba to
enable you to cut straight through the Ukes wrist)
Ura Gata 1
The Uke begins in Bikenjutsu Seigan no Kamae. Begin in Naka
Seigan no Kamae. Invite the Uke to attack you with a Tsuki to your
torso. As he thrusts, step forwards and slightly to the right with the
right foot and hold the Kodachi vertical allow the Ukes sword to
slide along your Kodachi (close to your Tsuba blade edge facing the
Uke) to shield yourself. Move along the same line with Yoko Aruki
(left foot across the right foot) and as you do, cover the Ukes left hand
with your left hand, and as you complete the Yoko Aruki movement
you can do one of two things
1, place the Kodachi between the Ukes torso and right arm, turn your
right wrist clockwise to rotate the Kodachi blade upwards, step across
the front of the Uke with your left foot and drop to your right knee
whilst pressing down on the Ukes right bicep with the Kodachi blade
(as in Hanbojutsu) pinning the Uke to the floor.
2, this is identical to the first only instead of placing the blade between
the arm and the torso, you place the blade edge (near the Tsuba)
straight down onto the base of the right bicep in the crease of the arm
and press the Kodachi down to pin the Uke to the floor. All of the
footwork is exactly the same. The only difference is the position of the
Kodachi.
Ura Gata 2
The Uke begins in Bikenjutsu Hasso no Kamae (left foot forward).
Begin in Naka Seigan no Kamae. Invite the Uke to attack the right
side of your neck. The Uke steps in with the left foot and attacks to
your right side neck with Kesa Giri. When the Uke commits to the cut,
step in with your left foot and drop to your right knee to evade the cut.
To finish place the Kissaki onto the Ukes chest, step up between the
Ukes legs with your right foot and thrust the Kodachi through the
Ukes throat the same way a volcano explodes upwards (the last part is
done in one movement).

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Kukishin Ryu Kodachi Dori

10

Jji Ken (2 ura gata)


Kuden When two swords come together they make a cross shape
(Juji) but the important thing with this technique is not to leap in like
a bird of prey or attack like a lion rather to assume a natural way of
movement, the same way that water flows or the wind blows.
Footwork and the way you move the Kodachi is what is important in
these techniques.
The Uke begins in Bikenjutsu Seigan no Kamae. Begin in Shizen no
Kamae. Invite the Uke to attack you with Do Giri to your left side
torso by stepping back slightly with your right foot (Shizen Tai). As
the Uke cuts, step back with your left foot to evade the cut then
quickly step back in with the left foot to get in close to the Uke (the
Ukes sword is to your right) and place your left hand on the Ukes
right hand to prevent a second cut. Roll your right wrist clockwise so
that your hand is parallel to your head and the Kodachi follows the line
of your forearm (Kissaki pointing down) this is done as you step in.
This is to use the Kodachi as a shield if necessary and also to set you
up for the next movement. The last part of this movement is to cut to
the Ukes neck to finish. From the point that you step in with the left
foot, the covering of the right hand, the raising of the Kodachi and the
final cut should be done as one movement. A natural rhythm and
timing is essential here.
Ura Gata 1
The Uke begins in Bikenjutsu Daijodan no Kamae. Begin in Shizen no
Kamae and just wait for the Ukes attack. The Uke cuts to your head
with Karatake Wari. At the point the Uke has committed to the cut,
step in with the left foot and drop to your right knee so that your knee
lands in front of the Ukes right foot. From this position, Tsuki into
the Ukes chest to finish use your left hand on top of your right hand
to stabilise the Kodachi. This movement should be seamless from start
to finish.

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Kukishin Ryu Kodachi Dori

11

Ura Gata 2
The Uke begins in Bikenjutsu Seigan no Kamae. Begin in Shizen no
Kamae and just wait for the Ukes attack. The Uke attacks with a
Tsuki to Do. Respond by stepping back with the left foot (Shizen Tai).
Invite the Uke to cut to your right side Do. The Uke steps in with the
left foot and cuts with Do Giri to your right side. Evade this by
stepping back with your right foot and then quickly step back in with
your right foot and then the left foot as you step with the right, press
your Tsuba against the Ukes Tsuba and push down. The Uke resists
this. As you step in with the left, place your left hand on the Ukes
right hand to cover. Finish by cutting the Uke straight across his eyes
left to right or right to left either way is correct. As the Uke is
resisting your pushing down with the Kodachi, this final cut is aided by
the resistance the Uke offers to this.

Takamatsuden Books 2010

Kukishin Ryu Jojutsu

Published and produced by Takamatsuden


Books

Disclaimer
Please note that Takamatsuden Books are NOT RESPONSIBLE in any
manner whatsoever for any injury that may result from practicing the
techniques and / or following the instructions given within. Since the
physical activities described herein may be too strenuous in nature for some
readers to engage in safely, it is essential that medical advice is sought prior
to any training.

All rights reserved. No part of this publication may be reproduced or utilized


in any form or by any means, electronic or mechanical, including
photocopying, recording, scanning, or by any information storage and
retrieval system, without prior written permission from Takamatsuden Books.

Takamatsuden Books 2010

Kukishin Ryu Jojutsu

Kukishin Ryu Jojutsu


(Nine Demon Gods School Cane Art)

Takamatsuden Books 2010

Kukishin Ryu Jojutsu

Mokuroku
(Catalogue)

Kukishin Ryu Jojutsu


(Nine Demon Gods School Cane Art)

Kamae
(Postures)

Chudan no Kamae (Middle Level Posture)

Gedan no Kamae (Low Level Posture)

Ichimonji no Kamae (Figure One Posture)

Seigan no kamae (Correct Eye Posture)

Kyohen no Kamae (Posture Of Change also known as Ihen)

Tenchijin no Kamae (Posture Of Heaven, Earth And Man)

Shizen no kamae (Natural Posture)

Takamatsuden Books 2010

Kukishin Ryu Jojutsu

Kihon Gata
(Fundamental Forms)

Jodan Uke (Upper Receiving)

Men Uchi (Head Strike the Kanji for Men means face)

Do Uchi (Side Strike)

Ashi Barai (Lower Leg Strike literal meaning is tripping up)

Kote Uchi (Wrist Strike)

Gedan Uchi (Lower Strike)

Hane Age (Striking Upwards)

Kote Gaeshi Uchi (Turning Wrist Strike)

Tsuki (Thrust)

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Kukishin Ryu Jojutsu

Jojutsu Kata (Cane Art Forms)

Jumonji (Figure Ten The Cross)

Roppo (Six Ways)

Kyu Ho (Nine Ways)

Hiryu (Flying Dragon)

Tsuke Iri (Entering Thrust)

Kasumi Gake (Haze Trap)

Ude Gake (Arm Trap)

Kote Gaeshi (Hands Against)

Tachi Otoshi (Sword Drop)

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Kamae (Postures)

Chudan no Kamae (Middle Level Posture)


Kuden Stare into the Ukes eyes with the intention of driving through and
piercing his heart.
Stand in a natural position facing front (Similar to Bojutsu Hira no Kamae) the Jo is held palm down about a foot apart in the centre. From this position,
step back with your right foot. The feet are approximately 2 to 3 feet apart
with about a 1 to 2 inch gap between. The front foot (left) is angled very
slightly to the left. This is not noticeable to the Uke. The back foot (right)
points 45 degrees to the rear. Lower your centre of gravity as much as is
comfortable (this takes time). Your knees should hide your feet if you are
looking down (important point). Make sure the knees are not buckling
inwards to take the strain. This will hurt initially but the pain is temporary
and, if practiced correctly, will build strong legs. This is an important point.
Your back is straight with this Kamae. Make sure your backside is not
sticking out. This is a common mistake and should be corrected from the
start. Your weight should be about 60/40 to the rear. Keep your shoulders
relaxed and do not hunch them. Your head faces forwards. Bring the Jo
under your right armpit and hold it against your chest. Your left arm holds
the Jo so as to point the tip to the Ukes heart (note your hands are still
about 1 foot apart, they do not change). Your palms should be down. This
Kamae is done on the left side and the right side.

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Gedan no Kamae (Low Level Posture)


Kuden Stare into the Ukes eyes with a composed feeling of responding to
any changes the Uke may make.
This Kamae is the same as Chudan no Kamae with the following changes. From a natural position facing front (same as in last Kamae) slide your left
hand to the left until it is at the left end of the Jo. As you step back with the
right foot bring your left hand to your Hara (2 inches below your navel) and
allow your right arm to drop behind you (along the right side of your torso)
and put the right tip of the Jo on the floor behind you (both palms are down).
The right tip of the Jo should be along the same line of your feet. This
Kamae is done on the left side and the right side.

Ichimonji no Kamae (Figure One Posture)


Kuden Stare into the Ukes eyes with an attitude of becoming one with
nature.
From a natural position facing front (same as in last Kamae) step back with
your right foot to bring you body side on. Your feet should be
approximately shoulders width apart with the knees slightly bent. The Jo is
parallel to your body with your arms hanging naturally and your hands
holding the Jo in the centre with a gap of approximately 2 foot in between
your hands (palms down). Turn you head to your left so as to look over
your left shoulder (to the front). Make sure your head is straight and not
tilted to the side. Relax your shoulders. This Kamae is done on the left side
and the right side.

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Seigan no kamae (Correct Eye Posture)


Kuden Stare into the Ukes eyes with a feeling of making him move at
your will.
Stand in a natural position facing front (Similar to Bojutsu Hira no Kamae) the Jo is held palm down about 2 feet apart in the centre. From this position,
step back with your left foot. The feet are approximately 2 feet apart. The
front foot (right) is angled very slightly to the right. This is not noticeable to
the Uke. The back foot (left) points 45 degrees to the rear. Lower your
centre of gravity as much as is comfortable (this takes time). Your knees
should hide your feet if you are looking down (important point). Make sure
the knees are not buckling inwards to take the strain. This will hurt initially
but the pain is temporary and, if practiced correctly, will build strong legs.
This is an important point. Your back is straight with this Kamae. Make
sure your backside is not sticking out. This is a common mistake and should
be corrected from the start. Your weight should be about 60/40 to the rear.
Keep your shoulders relaxed and do not hunch them. Your head faces
forwards. Bring your left hand next to your left hip and put the tip of the Jo
on the line between yours and the Ukes eyes. Keep your elbows in. This
Kamae is done on the left side and the right side.

Kyohen no Kamae (Posture Of Change)


(Kyohen is the traditional way of pronouncing the Kanji it can also be
pronounced as Ihen)
Kuden Stare into the Ukes eyes with the feeling of drawing him in and
inviting an attack.
Stand in a natural position facing front (Similar to Bojutsu Hira no Kamae) the Jo is held palm down about 2 feet apart in the centre. From this position,
step back about 2 feet with your right foot. Change your palm grip with your
right hand to palm up. Bring your right hand a couple of inches away from

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Kukishin Ryu Jojutsu

your right cheek and your left hand pushes the Jo straight out so that the Jo is
on roughly a 45 degree angle in front of you (front tip is the lowest point).
Make sure your head is straight and not tilted to the side. This Kamae is
done on the left side and the right side.

Tenchijin no Kamae (Posture Of Heaven, Earth And Man)


Kuden Stare into the Ukes eyes with the feeling of being able to defeat
any attack he may make under a single blow.
Stand in a natural position facing front (Similar to Bojutsu Hira no Kamae) the Jo is held palm down about 2 feet apart in the centre. From this position,
step back about 1 foot with your right foot. Change your palm grip with
your right hand to palm up. Bring your right hand a couple of inches away
from your right cheek and allow the Jo to hang down naturally your left
hand should be by your right elbow. Your right hand grip should be with
your thumb pressing the Jo against your palm and straightened index finger
the other three fingers are loose (the same way a Bo-Shuriken is held). Make
sure your head is straight and not tilted to the side. This Kamae is done on
the left side and the right side.

Shizen no kamae (Natural Posture)


Kuden Stare into the Ukes eyes with the feeling of hiding all thoughts and
intentions from him.
Stand in a natural position facing front with your knees slightly bent. The Jo
is held vertically with the right hand and gripped about 2/3 of the way up
(similar to a walking staff). Make sure your head is straight and not tilted to
the side. This Kamae is done on the left side and the right side.

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Kihon Gata
(Fundamental Forms)

Jodan Uke (Upper Receiving)


This is for receiving a cut from Bikenjutsu Daijodan no Kamae. You can
evade either 45 degrees left or right, to the front or to the rear depending on
the situation or the distance of the attack. This is the same as in Kukishin Ryu
Rokushakubojutsu.
Begin from Jojutsu Ichimonji no Kamae. The Uke begins from Bikenjutsu
Daijodan no Kamae. The Uke cuts with Karatake Wari (straight down to the
head). In this example I will explain stepping forward to the left but as I
said, this can be also to the right and both can also be to the rear.
With the left foot, step 45 degrees forwards to the left and raise the Jo directly
over your head and position your arms/hands like this the left hand is raised
high (dont lock the elbow out though) and supports the Jo between the thumb
and the index finger (if you use a mirror to correct yourself, your thumb and
fingers cannot appear above the line of the Jo) and the right hand
palm/forearm support the Jo to put it on a 45 degree angle (your right hand
should be directly above your head). You should aim to receive the Ukes cut
at the right forearm position with the Jo to allow the cut to slide off the Jo.

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Men Uchi (Head Strike the Kanji for Men means face)
There are 2 versions to this.
Version 1 Begin in Seigan no Kamae (right foot forwards). The Uke begins
in Bikenjutsu Seigan no Kamae. Shift you weight forwards onto the front foot
(right) and as you do this, allow the Jo to slide through your hands until you
can grab the front end of the Jo with your leading hand (right). As you step
forward with your left leg, swing the back end of the Jo up and over your head
and strike the Ukes head as your left leg lands (make sure that your right hand
is by your abdomen and your elbows are kept in at all times). Do this on both
the left and the right. Return to Kamae.
Version 2 - Begin in Seigan no Kamae (right foot forwards). The Uke begins
in Bikenjutsu Seigan no Kamae. Shift you weight forwards onto the front foot
(right) and as you do this, throw the back end of the Jo up and over with your
left hand and use your right hand as an axis point (this will turn to palm up)
and recapture the short end of the Jo with the left hand. Strike as you
recapture the Jo (make sure that your right hand is by your abdomen and your
elbows are kept in at all times). Do this on both the left and the right. Return
to Kamae.

Do Uchi (Side Strike)


There are 2 versions to this.
Version 1 Begin in Seigan no Kamae (right foot forwards). The Uke begins
in Bikenjutsu Seigan no Kamae. Shift you weight forwards onto the front foot
(right) and as you do this, allow the Jo to slide through your hands until you
can grab the front end of the Jo with your leading hand (right). As you step
forward with your left leg, swing the back end of the Jo horizontally
(sideways) to Do (torso) to strike, just before you connect, snap/pull the back
of the Jo with your right hand into your sternum to increase the power of the

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strike (and keep your elbows in at all times). Do this on both the left and the
right. Return to Kamae.
Version 2 This is the same as version 1 except you toss the leading end of
the Jo up and to the rear with your right hand and as the back end of the Jo
emerges (the short end), capture it with the right hand (this is all done as you
step in). The finish is the same only your palm position with your leading
hand (left) is palm up. Do this on both the left and the right. Return to
Kamae.
Note If you strike Kasumi (the temple) from here, this becomes Yoko Men
Uchi.

Ashi Barai (Lower Leg Strike literal meaning is tripping up)


There are 2 versions to this.
Version 1 Begin in Seigan no Kamae (right foot forwards). The Uke begins
in Bikenjutsu Seigan no Kamae. Shift you weight forwards onto the front foot
(right) and as you do this, allow the Jo to slide through your hands until you
can grab the front end of the Jo with your leading hand (right). As you step
forward with your left leg, swing the back end of the Jo around and down to
the Ukes lower leg to strike, just before you connect, snap/pull the back of
the Jo with your right hand into your sternum to increase the power of the
strike (and keep your elbows in at all times). Do this on both the left and the
right. Return to Kamae.
Version 2 This is the same as version 1 except you toss the leading end of
the Jo up and to the rear with your right hand and as the back end of the Jo
emerges (the short end), capture it with the right hand (this is all done as you
step in). The finish is the same only your palm position with your leading
hand (left) is palm up. Do this on both the left and the right. Return to
Kamae.

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Kote Uchi (Wrist Strike)


There are 2 versions to this.
Version 1 Begin in Seigan no Kamae (right foot forwards). The Uke
begins in Bikenjutsu Seigan no Kamae. Shift you weight forwards onto the
front foot (right) and as you do this, allow the Jo to slide through your hands
until you can grab the front end of the Jo with your leading hand (right). As
you step forward and slightly to the left with your left leg, swing the back end
of the Jo up and over in a straight line and strike the Ukes wrists/forearms.
Bring your body weight forwards and lower your posture as you strike to
increase the power of the strike, and also keep your elbows in. Do this on both
the left and the right. Return to Kamae.
Version 2 - Begin in Seigan no Kamae (right foot forwards). The Uke
begins in Bikenjutsu Seigan no Kamae. Shift you left foot to your left and
throw the back end of the Jo up and over with your right hand. Recapture the
short end of the Jo with your left hand and strike the Ukes wrists/forearms
(your left hand will be palm up). Realign your right foot just before you
strike. Bring your body weight forwards and lower your posture as you strike
to increase the power of the strike, and also keep your elbows in. Do this on
both the left and the right. Return to Kamae.

Gedan Uchi (Lower Strike)


There are 2 versions to this.
Version 1 Begin in Seigan no Kamae (right foot forwards). The Uke
begins in Bikenjutsu Seigan no Kamae. Shift you weight forwards onto the
front foot (right) and as you do this, allow the Jo to slide through your hands
until you can grab the front end of the Jo with your leading hand (right). As
you step forward with your left leg, the tip of the Jo turns anti clockwise in a
straight line from back to front. As the left leg lands, drop your hips and strike
up powerfully with the tip of the Jo to the Ukes groin. Bring your body

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Kukishin Ryu Jojutsu

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weight forwards and lower your posture as you strike to increase the power of
the strike, and also keep your elbows in. Do this on both the left and the right.
Return to Kamae.
Version 2 - Begin in Seigan no Kamae (right foot forwards). The Uke begins
in Bikenjutsu Seigan no Kamae. Shift you weight forwards onto the front
foot (right) and as you do this, toss the leading end of the Jo to the rear (up and
over) with your right hand. As you step forward with your left leg, the tip of
the Jo turns anti clockwise in a straight line from back to front (use the
momentum created from throwing the end of the Jo). As the left leg lands,
drop your hips and strike up powerfully with the tip of the Jo to the Ukes
groin (your left hand will be palm up). Bring your body weight forwards and
lower your posture as you strike to increase the power of the strike, and also
keep your elbows in. Do this on both the left and the right. Return to Kamae.

Hane Age (Striking Upwards)


There are 2 versions to this.
Version 1 Begin in Seigan no Kamae (right foot forwards). The Uke
begins in Bikenjutsu Seigan no Kamae. Shift you weight forwards onto the
front foot (right) and as you do this, allow the Jo to slide through your hands
until you can grab the front end of the Jo with your leading hand (right). As
you step forward with your left leg, the tip of the Jo turns anti clockwise in a
straight line from back to front. As the left leg lands, drop your hips and strike
up powerfully with the tip of the Jo to the Ukes wrists to knock the Ukes
sword away. Bring your body weight forwards and lower your posture as you
strike to increase the power of the strike, and also keep your elbows in. Do
this on both the left and the right. Return to Kamae.
Version 2 - Begin in Seigan no Kamae (right foot forwards). The Uke begins
in Bikenjutsu Seigan no Kamae. Shift you weight forwards onto the front
foot (right) and as you do this, toss the leading end of the Jo to the rear (up and
over) with your right hand. As you step forward with your left leg, the tip of
the Jo turns anti clockwise in a straight line from back to front (use the
momentum created from throwing the end of the Jo). As the left leg lands,
drop your hips and strike up powerfully with the tip of the Jo to the Ukes

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wrists to knock the Ukes sword away (your left hand will be palm up). Bring
your body weight forwards and lower your posture as you strike to increase
the power of the strike, and also keep your elbows in. Do this on both the left
and the right. Return to Kamae.

Kote Gaeshi Uchi (Turning Wrist Strike)


There are 2 versions to this.
Version 1 Begin in Shizen no Kamae (Jo is held in your right hand). The
Uke begins in Bikenjutsu Seigan no Kamae. Step in with your right foot and
bring the tip of the Jo that is on the ground up and over (anti clockwise) and
capture the short end with your left hand and strike the Ukes wrists/forearms
as your right foot lands. Bring your body weight forwards and lower your
posture as you strike to increase the power of the strike, and also keep your
elbows in. Do this on both the left and the right. Return to Kamae.
Version 2 - Begin in Shizen no Kamae (Jo is held in your right hand). The
Uke begins in Bikenjutsu Seigan no Kamae. Step in and to the left side with
your left foot and at the same time, bring the Jo to your left side still in
your right hand (the Jo is still held vertically at your left side). Bring the
tip of the Jo that is on the ground up and over (clockwise) and capture with
your left hand (the left hand becomes your lead hand) and strike the Ukes
wrists/forearms as your right foot lands (your right hand is palm up). At the
same time swing your right foot back and around to the left to line up your
body for the strike. Bring your body weight forwards and lower your posture
as you strike to increase the power of the strike, and also keep your elbows in.
Do this on both the left and the right. Return to Kamae.

Tsuki (Thrust)
Begin in Chudan no Kamae (left leg forwards). The Uke begins in
Bikenjutsu Seigan no Kamae. Pull your right hand back so that it slides to

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the back end of the Jo also shift your weight slightly to the rear (keep the
Jo horizontal at all times). Shift forwards with your weight onto your left
foot and thrust the Jo by pushing the Jo through your left hand with your
right. Bring your body weight forwards and lower your posture as you strike
to increase the power of the thrust, and also keep your elbows in. Do this on
both the left and the right. Return to Kamae.
To improve your targeting skills within this technique, have your Uke hold a
Rokushakubo vertically in front of him aim to hit this.

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Jojutsu Kata (Cane Art Forms)

Jumonji (Figure Ten The Cross)


Kuden The name of this Kata means that the Jo comes out in a cross
shaped pattern in Katate buri.
This Kata should be done at speed so as to prevent the Uke from blocking
any of the attacks.
Begin in Kyohen no Kamae (left foot forwards). The Uke begins in
Bikenjutsu Seigan no Kamae. Step in with your right foot and as you do,
push the Jo down with your left hand to rotate the Jo in a anti clockwise
direction (up and over, vertically) and re-capture it with your left hand and
strike the Ukes left side Kasumi (temple) with Yoko Men Uchi. Shift your
back leg (left) to the right so it is behind your right foot - and from the last
strike, move the Jo downwards in a semi-circle (clockwise) and strike to the
Ukes left side Butsumetsu (this is a sudden movement). Then step to the
left with your left foot allow the Jo to slip through your fingers (looks
similar to Gedan no Kamae also, reposition your right hand so that it is
palm down) and strike the Ukes right side Kasumi with Yoko Men Uchi as
your right foot shifts behind your left. Allow the Jo to slip through your
fingers and catch the front end with your left hand and immediately (and
without moving your new hand positioning) turn the Jo over clockwise to
strike the Ukes right side Kasumi again (your right elbow will be raised and
your right hand will be in front palm down in this strike). To finish, step to
the right with the right foot as you do, using your right hand as a pivot,
throw the Jo counter-clockwise with your left hand so that it spins above
your head bring your left leg behind your right, catch the end of the Jo with
your left hand and Yoko Men Uchi to the Ukes left side Kasumi. Return to
Kyohen no Kamae and Zanshin.

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Roppo (Six Ways)


Kuden This Kata means to attack in every direction in every way.
Begin in Gedan no Kamae (left foot forwards). The Uke begins in
Bikenjutsu Seigan no Kamae. Step in with your right foot and swing the Jo
to - Ashi, Do or Men any strike is fine. The Uke leaps back to avoid the
strike. As the Uke evades the strike, release the Jo with your right hand and
continue the swing so that you catch the Jo on your left shoulder recapture
the Jo with your right hand as the Jo comes to rest on the back of your neck
(the middle of the Jo rests on the nape of your neck). Prepare to attack the
Uke by watching him for an opening. Release your left hand and flick the Jo
around towards the Ukes left side Kasumi with Yoko Men Uchi catch the
Jo with your left hand just before impact. Release the Jo with your left hand
and turn the Jo up and over in your right hand in a counter-clockwise
direction, and as the front end now becomes the back end, grab this with the
left hand. The Uke enters into Bikenjutsu Daijodan no Kamae. At the
moment the Uke is ready to cut, perform Tsuki to Suigetsu (you can also
drop to the knee for the Tsuki). Return to Gedan no Kamae and Zanshin.

Kyu Ho (Nine Ways)


Kuden - Since nine was originally the highest number, the name of this kata
means it is the most powerful kata.
Begin in Chudan no Kamae (left foot forwards). The Uke begins in
Bikenjutsu Seigan no Kamae. Step in with your right foot and strike up to
the Ukes groin with Hane Age, then immediately turn the Jo in a counter
clockwise crescent (paddle the Jo using the right hand as an axis) to strike
the Ukes left side Kasumi with Yoko Men Uchi. Pull the Jo back to Gedan
no Kamae with the Jo on your left side, step forward with your left leg and
strike the Uke on top of his head with Men Uchi. Then, step in with your
right leg and strike with Ashi Barai to the Ukes rear leg. Step back with
your right leg, return to Chudan no Kamae and Zanshin.

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Hiryu (Flying Dragon)


Kuden This Katas meaning is the image of a dragon soaring up into the
sky.
Begin in Tenchijin no Kamae (left foot forwards). The Uke begins in
Bikenjutsu Seigan no Kamae. Step in with your right foot and strike to the
Ukes left shoulder with a diagonal strike. Switch foot positions so the left
foot is forwards and strike with Men Uchi to the top of the Ukes head. Step
in with your right foot and strike with Do Uchi to the Ukes right side.
Switch foot positions (left forwards) and strike up to the Ukes groin with
Gedan Uchi. Step in with your right leg and Strike to the Ukes left Kasumi
with Yoko Men Uchi. Without moving your feet, strike to the inside of the
Ukes right lower leg/ankle with Ashi Barai. Again, without stepping,
revolve the Jo clockwise in your right hand, recapture with your left and
strike the Ukes left side with Do Uchi. Step back with your right leg , return
to Tenchijin no Kamae and Zanshin.

Tsuke Iri (Entering Thrust)


Kuden This Kata means to strike the Ukes weak point.
Begin in Chudan no Kamae (left foot forwards). The Uke begins in
Bikenjutsu Seigan no Kamae. Step in deep with your left foot and Tsuki to
Do. Step in with your right foot and strike up and through to the
wrists/forearms with Hane Age. Release the Jo with your left hand and
swing the Jo clockwise over your head using your left hand as an axis,
recapture the short end with your left hand and strike the Ukes left side with
Do Uchi. Pull your right leg back slightly at the same time bring the front
tip of the Jo down and behind you in a circular fashion (counter clockwise)
on your right side. Step forwards again with your right leg and continue the
circle to strike again with Do Uchi to the Ukes left side. Step back with the
right leg and finish by entering into Chudan no Kamae and Zanshin.

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Kasumi Gake (Haze Trap)


Kuden - This kata means you strike the Ukes Kasumi
Begin in Chudan no Kamae (left foot forwards). The Uke begins in
Bikenjutsu Seigan no Kamae. The Uke begins to approach pull your left
leg back and strike with Yoko Men Uchi to the Ukes left temple. As in the
previous technique, release the Jo with your left hand and rotate it over your
head with your right hand as the axis, recapture with your left hand and
strike once again to left side Kasumi (temple) with Yoko Men Uchi. Step
back with your right foot and bring the Jo across your chest (chudan no
Kamae) Then step in with the right foot again to strike with Men Uchi. Step
back with your right foot, return to Chudan no Kamae and Zanshin.

Ude Gake (Arm Trap)


Kuden - The name means you strike into the arm which holds the opponents
sword.
Begin in Ichimonji no Kamae (left foot forwards). The Uke begins in
Bikenjutsu Seigan no Kamae. The Uke then changes to Bikenjutsu Daijodan
no Kamae, steps forwards with the right foot and cuts in with Karatake Wari
(straight down to your head). Receive the cut by stepping back with your
left foot and perform Jodan Uke. Finish by moving your left foot to the right
behind and to the right side of your left (you should be on a 45 degree angle
to the Uke). Let go of the Jo with your left hand and swing the Jo down onto
the top of the Ukes wrists/forearms (recapture with the left hand just before
the strike). Pull your right leg back and return to Ichimonji no Kamae and
Zanshin.

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Kote Gaeshi (Hands Against)


Kuden - The katss name means crossing the hands over.
Begin in Seigan no Kamae (left foot forwards). The Uke begins in
Bikenjutsu Seigan no Kamae. Without moving your feet, lean in whilst
feinting a Tsuki (slightly to the Ukes right side Do). The Uke reacts by
parrying your Jo to his right. As he does this, release the Jo with your right
hand and allow the Jo to revolve counter clockwise on your left side
recapture the short end with your right hand and finish with Do Uchi to the
Ukes right side. Return to Seigan no Kamae and Zanshin.

Tachi Otoshi (Sword Drop)


Kuden - The katss name means rolling the hands over.
Begin in Seigan no Kamae (left foot forwards). The Uke begins in
Bikenjutsu Daijodan no Kamae. As the Uke begins to attack as in the
previous technique, step in with your right foot and strike in with Men Uchi
and just at the last moment, change the target and strike down to the Ukes
wrists/forearms (shift your body weight onto your back leg). Switch step
quickly (left foot forwards) and and strike under the Ukes wrists/forearms
with Gedan Kote Uchi (you can drop to your left knee for this). Return to
Seigan no Kamae and Zanshin.
Note the timing of the first strike is critical to avoid being cut.

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Disclaimer
Please note that Takamatsuden Books are NOT RESPONSIBLE in
any manner whatsoever for any injury that may result from practicing
the techniques and / or following the instructions given within. Since
the physical activities described herein may be too strenuous in
nature for some readers to engage in safely, it is essential that medical
advice is sought prior to any training.

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Kot Ry Koppjutsu

Koto Ryu Koppojutsu


(Tiger knocking down school)

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Kot Ry Koppjutsu

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Kot Ry Koppjutsu

Kot Ry Koppjutsu (Tiger Knocking Down School)

Goh no Kurai Dori (5 Ways Of Taking Proper Position)

Migi Seigan no kamae (Right Correct Eye Posture)

Hidari Seigan no kamae (Left Correct Eye Posture)

Hira Ichimonji no kamae (Flat Figure One Posture)

Hko no kamae (Encircling Receiving Posture)

Bbi no kamae (Defensive Posture)

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Kot Ry Koppjutsu

Kihon Gata (Basic Forms)

Moto Gata

Migi Seigan no kamae (Right Correct Eye Posture)

Hidari Seigan no kamae (Left Correct Eye Posture)

Hira Ichimonji no kamae (Flat Figure One Posture)

Hko no kamae (2 kata) (Encircling Receiving Posture)

Bbi no kamae (Defensive Posture)

Torite Kihon Gata

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Soni Ichi (Migi Omote Gyaku)

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Soni Ni (Hidari Omote Gyaku)

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Sono San (Migi Omote Gyaku Tsuki)

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Sono Yon (Hidari Omote Gyaku Tsuki)

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Sono Go (Migi Ura Gyaku)

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Sono Roku (Hidari Ura Gyaku)

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Sono Shichi (Migi Musha Dori)

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Sono Hachi (Hidari Musha Dori)

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Sono Kyu (Migi Muso Dori)

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Sono Ju (Hidari Muso Dori)

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Atemi (Strikes)
The strikes that are mainly used in the Koto Ryu are Shikan Ken and
Fudo Ken. Always strike with the feeling of driving through the Uke.
Keep your elbows bent for this. Never straighten your arms at any
point if you do, it will be very easy for the Uke to take your
balance. When the Uke attacks, receive with your elbow bent with a
feeling of sweeping the attack away or of opening the Uke up, and
dont strike the attacking limb too hard. This is Uke Nagashi.

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Fudo Ken (Nio Ken) (Immovable Fist Guardian Fist)
Use the knuckles of the index and middle finger for punching, and
striking with the thumb on the outside of the fist. This is Fudo Ken.
When the knuckles of the little and ring finger are used for striking, it
is called Nio Ken.
This can easily be turned into Boshi Ken also.

Shikan Ken (Finger Knuckles Fist)


Use a fist similar to Fudo Ken, only use the second row of knuckles
of your four fingers to strike the target.

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Omote Shuto/Ura Shuto (Outside/Inside Hand Sword)
Use the sides of the hands, with the hand open about 60 degrees,
snapping the hand open on impact. (This strike is used a lot).
The energy for the strike comes from the elbow. If you try use power
for the Shuto from your shoulder, then you could dislocate it.
From Seigan no Kamae, turn the hand over in front of the face to
strike with Omote Shuto, sinking the knees down as you strike. With
Ura Shuto, bring the fist to the opposite side ear, similar to the way
that you would hold a phone receiver. This Shuto makes use of small
but powerful movements.

Zenpo Keri (Forward Kick)


From Shizen Tai lower your hips (do this by bending the knees) and
bring the knee of the kicking leg to your chest. So, you kick with the
feeling of the kick coming up and then out, straight through the Uke.

Kakushi Keri (Hidden Kick)


From Shizen Tai lower your hips (do this by bending the knees) and
bring the foot straight up in an arc so as to kick along the centre line
with the side of your big toe (toes point forward). It is also good to
practice this in Kumi Uchi (grappling).

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Sokuho Keri (Side Kick)


From Shizen Tai lower your hips (do this by bending the knees) and
bring the knee of the kicking leg to the side of your ribs. So, you
kick with the feeling of the kick coming up and then out to the side,
straight through the Uke. Keep the kick level with your hips. An
important point to this is to use you peripheral vision (keep your eyes
forward)

Koho Keri (Backwards Kick)


2 Methods
When kicking high - From Shizen Tai lower your hips (do this by
bending the knees) and bring your hands to the floor in front of you.
Look between your legs to target the Uke and then kick out at the
Uke (your leg should be linear with your back change this angle if
you wish to kick higher).
When kicking level From Shizen Tai lower your hips (do this by
bending the knees) and look back over your shoulder and spot your
target (turn only the shoulder, not the hips) and lean forward at the
same time. From this position, kick back.
For both of these methods, you are kicking with the flat/heel of the
foot. Also, practice left and right sides.

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Goh no Kurai Dori (5 Ways Of Taking Proper Position)

Migi Seigan no kamae (Right Correct Eye Posture)


From Hira no Kamae step back with the left foot. The feet are
approximately 2 to 3 feet apart with about a 1 inch gap between.
The front foot (right) is angled very slightly to the left. This is not
noticable to the Uke. The back foot (left) points 45 degrees to the
rear. Lower your centre of gravity as much as is comfortable (this
takes time). Your knees should hide your feet if you are looking
down (important point). Make sure the knees are not buckling
inwards to take the strain. This will hurt initially but the pain is
temporary and, if practiced correctly, will build strong legs. This is
an important point. Your back needs to be straight. Make sure your
backside is not sticking out. This is a common mistake and should be
corrected from the start. Keep your shoulders relaxed and do not
hunch them. Your right arm is slightly bent at the elbow and held out
to the front with your fingers pointing towards the Ukes eyes. The
fingers are together. Do not open them. The left hand is held in the
shape of a Shuto fist and is held just above your left bicep with your
palm facing your face. Remember, keep the shoulders relaxed. Your
neck and head are straight and relaxed and pointing towards the
opponent. Do not tilt your head to the side. This is a common
mistake and should be corrected from the start. Fix your eyes on the
Uke. Take all tension out of your body and relax. This is Migi
(right) Seigan no Kamae.
Kuden
Stare into the Ukes eyes with the intention of using your will to
make the Uke do as you wish.

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Hidari Seigan no kamae (Left Correct Eye Posture)


From Hira no Kamae step back with the right foot. The feet are
approximately 2 to 3 feet apart with about a 1 inch gap between.
The front foot (left) is angled very slightly to the right. This is not
noticable to the Uke. The back foot (right) points 45 degrees to the
rear. Lower your centre of gravity as much as is comfortable (this
takes time). Your knees should hide your feet if you are looking
down (important point). Make sure the knees are not buckling
inwards to take the strain. This will hurt initially but the pain is
temporary and, if practiced correctly, will build strong legs. This is
an important point. Your back needs to be straight. Make sure your
backside is not sticking out. This is a common mistake and should be
corrected from the start. Keep your shoulders relaxed and do not
hunch them. Your left arm is slightly bent at the elbow and held out
to the front with your fingers pointing towards the Ukes eyes. The
fingers are together. Do not open them. The right hand is held in the
shape of a Shuto fist and is held just above your left bicep with your
palm facing your face. Remember, keep the shoulders relaxed. Your
neck and head are straight and relaxed and pointing towards the
opponent. Do not tilt your head to the side. This is a common
mistake and should be corrected from the start. Fix your eyes on the
Uke Take all tension out of your body and relax. This is Hidari (left)
Seigan no Kamae.
Kuden
Stare into the Ukes eyes with the intention of using your will to
make the Uke do as you wish.

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Hira Ichimonji no kamae (Flat Figure One Posture)


From Hira no Kamae step out to the side so that the feet are open
slightly over shoulder width apart. Drop your weight a little to
unlock the knees. The arms are held horizontally out to your sides
with your elbows unlocked. The hands are held out in the shape of a
Shuto, and slightly forward and raised to roughly the level of your
eyes you should just about see them in your peripheral vision.
Your neck and head are straight and facing forwards. Take all the
tension out of your body.
A variation of this Kamae is the same as above with the difference
being you left foot resting on the inside of your right calf.
Kuden
The feeling of this Kamae is either gently wrapping the Uke up,
allowing the Ukes force to go by, or confining the Ukes
movements.

Hko no kamae (Encircling Receiving Posture)


From Hira no Kamae, step forwards slightly with your left foot and
keep your body very upright raise your arms up slightly above your
head in Shuto with the palms of your hands facing towards you
your hands are about 6 inches in front of and slightly higher than
your head (imagine that you are holding a large ball this will give
you the correct feeling of how to stand in Hoko). Head faces
forwards. You should feel that you are able to leap in at any point
with this Kamae.
Kuden Stare into the Ukes eyes with a feeling of either repelling an
attack from any directions, or of hugging in and of crushing.

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Bbi no kamae (Defensive Posture)


This Kamae from the hips down is the same as Seigan no Kamae
(right hand forwards). Your right hand is in Shuto held straight out
towards the Uke (slight bend in the elbow to unlock the arm and the
tips of the fingers are on the line of sight to the Ukes heart). Your
left hand is in Fudo Ken and is placed at your left hip. Your upper
body can either be side on or straight on to the Uke. Keep your head
forwards.
Kuden Stare into the Ukes eyes with a powerfull feeling of either
sweeping away attacks from the Uke, or of smashing the Uke apart
with the rear hand.

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Kihon Gata (Basic Forms)


The main point of the Kihon Gata is to take and control the Ukes
balance. Please perform these techniques with an emphasis on
staying as low as possible. Always maintain eye contact with the
Uke. This will make you appear menacing to the Uke and he will be
hesitant to attack you. This will give you the psychological
advantage over the Uke. Also maintain your peripheral vision.

Moto Gata

Migi Seigan no kamae (Right Correct Eye Posture)


The Uke and the Tori are in Seigan no Kamae (right hand forward).
The Uke punches with a left Fudo Ken to the face. At the point when
the Uke has committed to the attack, step off 45 degrees with the left
foot and receive the attack with Uke Nagashi with the right forearm
this is to use your forearm to allow the attack to flow past you
without striking the arm. The feeling is of pulling the attack past
you. When you have done this, step in with the left foot (directly
between the Ukes legs) and drop your hips and at the same time
strike to right side Uko (neck) with a left Omote Shuto to knock the
Uke down in a straight line. Return to Seigan no Kamae and
Zanshin.

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Hidari Seigan no kamae (Left Correct Eye Posture)


This is the same as the last technique, but done on the left.

Hira Ichimonji no kamae (Flat Figure One Posture)


The Uke is in Seigan no Kamae (left hand forward). Stand in Hira
Ichimonji no Kamae. The Uke punches with a right Fudo Ken to the
face. At the point when the Uke has committed to the attack, step to
the left side with the left foot (very slightly forward), rotate your hips
clockwise and strike the Ukes right elbow with either a left Omote
Shuto or a left Happa Ken (strike horizontally & push down slightly
to take balance). At the same time, bring the right hand over head to
prepare for Ura Shuto. Step in with the right foot (to the front of the
Ukes right foot) and strike down to the back of the Ukes neck with
a right Ura Shuto. Zanshin.
Do this on both sides.

Hko no kamae (Encircling Receiving Posture) (2 kata)


Depending on the distance of the attack, when you receive, you may
also step in (the written technique is to step back) use your own
judgement for each individual situation.

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Soni Ichi (Number 1)


You are in Hoko no Kamae (left foot forward). The Uke is in Seigan
no Kamae (left foot forward). The Uke punches with a right Fudo
Ken to your face. Step slightly back with the right foot and sink
down. Receive the punch with your left forearm at the Ukes elbow
and rise up/push up to take the Ukes balance and step forwards with
the left foot and strike to the Ukes neck with Omote Shuto. Zanshin.
Do this on both sides.

Soni Ni (Number 2)
You are in Hoko no Kamae (left foot forward). The Uke is in Seigan
no Kamae (left foot forward). The Uke punches with a right Fudo
Ken to your face. Step slightly back with the right foot and sink
down. Receive the punch with your left forearm at the Ukes elbow
and rise up/push up to take the Ukes balance and step forwards with
the left foot and strike to either Butsumetsu or Kimon with a right
Fudo Ken. Zanshin.
Do this on both sides.

Bbi no kamae (Defensive Posture)


You are in Bobi no Kamae (right hand forwards). The Uke is in
Seigan no Kamae (right hand forward). The Uke punches with a left
Fudo Ken to either the face or the chest. Step out to the left with the
left foot and sweep away the Ukes attack with Uke Nagashi. Now,

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depending on the distance there are 2 ways of doing the next


movement. If the Uke is close, turn your hips clockwise and punch
the Ukes Suigetsu with a left Fudo Ken. If the Uke is not in range
for this, then step in with the left foot and punch the Ukes Suigetsu
with a left Fudo Ken.

Torite Kihon Gata

In the Torite Kihon Gata, there are no official names for the Kata.
They have become known by the first names listed here. They could
also be called number one (Sono ichi ), number two (sono ni ) etc.
These are the same as in the Gyokko Ryu, the only difference being
the linear footwork.


Sono Ichi (No.1) Migi Omote Gyaku (Right Outside Wrist Reverse)
The Uke grabs your right lapel with his left hand. Cover this gently
with your right hand. Come up onto the ball of your right foot and
twist your hips in anti-clockwise towards the Uke and at the same
time, drop your hips. This is to A: protect the groin and B: enter into
a position to take the Ukes hand off your lapel. Grab the Ukes hand
at the same time. Rise from the hips and use the push-up with your
forearm under the Ukes arm to take the Ukes hand from your lapel.
Change over to the other foot and raise onto the ball, again, to protect
the groin (this is kind of a twisting motion). Pass the fingers of the
left hand across the Ukes eyes as Metsubushi, and at the same time,
twist the Ukes wrist up. Grip the Ukes left hand with both hands
now in preperation of Omote Gyaku. Keep your elbows tucked in.
Step to the left (Yoko Aruki) with the left leg and press the Ukes
wrist down. As you finish Yoko Aruki, when the right foot lands,

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drop your weight and press the Ukes wrist down to restrain/break the
wrist (this will prevent the Uke from escaping with Taihenjutsu).
Step back into Seigan no Kamae and Zanshin.


Sono Ni (No..2) Hidari Omote Gyaku (Left Outside Wrist Reverse)
This is the same as the last technique, but done on the left.


Sono San (No.3) Migi Omote Gyaku Tsuki (Right Outside Wrist
Reverse Thrust)
The Uke grabs your right lapel with his left hand. Cover this gently
with your right hand. The Uke steps in with the left leg and punches
with the right fist to Men. You step back with the right leg and drop
low with the hips. Receive the attack with the left forearm with Uke
Nagashi. Then, take the Ukes hand off your Lapel with your right
hand, as with the last technique, and grasp it firmly with both hands.
At the same time, raise the hips slightly. Keep your elbows tucked
in. Step to the left (Yoko Aruki) with the left leg and press the Ukes
wrist down. As you finish Yoko Aruki, when the right foot lands,
drop your weight and press the Ukes wrist down to restrain/break the
wrist (this will prevent the Uke from escaping with Taihenjutsu).
Step back into Seigan no Kamae and Zanshin.

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Sono Yon (No.4) Hidari Omote Gyaku Tsuki (Left Outside Wrist
Reverse Thrust)
This is the same as the last technique, but done on the left.


Sono Go (No.5) Migi Ura Gyaku (Right Inside Wrist Reverse)
The Uke grabs your right lapel with his left hand. Cover this gently
with your right hand. You cover the groin with the outside of the left
knee by coming up onto the ball of the foot. Also use the fingers of
the left hand as metsubushi to distract the Uke. You press the thumb
of the left hand into the Kyusho between the thumb and the index
finger.
Then press down with the right hand to release the Ukes grip.
Make sure that your right elbow is covering you from a potential
attack. You drop the hips as you do this. Then, roll the hand into
Ura Gyaku. Also switch the covering leg to the right leg. You apply
Ura Gyaku. The Uke resists this throw. So, you change to Omote
Gyaku. Reach in deep with the rightt hand to grab the Ukes hand.
Roll the Ukes hand into Omote Gyaku. Also switch the covering leg
to the left leg. Step to the left (Yoko Aruki) with the left leg and
press the Ukes wrist down. As you finish Yoko Aruki, when the
right foot lands, drop your weight and press the Ukes wrist down to
restrain/break the wrist (this will prevent the Uke from escaping with
Taihenjutsu). Step back into Seigan no Kamae and Zanshin.


Sono Roku (No.6) Hidari Ura Gyaku (Left Inside Wrist Reverse)
This is the same as the last technique, but done on the left.

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Sono Shichi (No.7) Migi Musha Dori (Right Warrior Capture)
The Uke grabs your right sleeve. You step out to the right and stoop
low. Roll the palm of your right hand under to the Ukes elbow and
continue to roll to lock the arm. As you raise your hips, press onto
the Ukes elbow from above with both hands.
The Ukes hand is caught in the crook of your outside elbow. Then,
push to the Ukes left knee with your right foot to collapse the
opponent to his knee - This is to break the knee. Maintain the
pressure with the hands throughout this. Carry on your movement
with a Yoko Aruki Movement.
Apply pressure to the Ukes elbow and take the Uke down to the
floor with this pressure. This is to break the elbow/restrain. Zanshin.
This is the same as the Gyokko Ryu.


Sono Hachi (No.8) Hidari Musha Dori (Left Warrior Capture)
This is the same as the last technique, but done on the left.


Sono Kyu (No.9) Migi Muso Dori (Right Warrior Destroy Capture)
The Uke grabs the end of your right sleeve. You pull back with the
right leg and cover with the left hand to guard against a potential
attack. Begin to wrap the Ukes arm with your right arm from above
with a big wrapping movement. Also, adjust your feet so that you are

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on the same line as the Uke. Your hands lock vertically as in a


prayer. Your right thumb is on top. This will make a solid lock.
Then, pull your right leg back and go onto the right knee while lifting
your arms, raising your hands over the right shoulder. This is when
you would break the Ukes shoulder. Zanshin.
This is the same as the Gyokko Ryu.


Sono Ju (No.10) Hidari Muso Dori (Left Warrior Destroy Capture)
This is the same as the last technique, but done on the left.

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Koto Ryu Hatsuden Chugokui Kyushozu


These are the names of the Kyusho from Koto Ryu Koppojutsu.
The names shown here were given to Hatsumi Sensei from Master
Takamatsu who received them from Master Toda in March 1902
Ura Kimon - the gap between the 4th and 5th ribs right under the
nipples
Yanagi Kaze - The Adams apple
Rangiku (Kasumi) - The temple
Hiryuran - Eyeball
Shi Shi Ran (Suigetsu ) - The area just a bit lower than the pit
of the stomach.
Kyosei (Suzu ) - The testicles
Yugasumi - The soft area right below the earlobe
Ryumon - The soft area on/near the clavicle
Jugiro - The front part of the shoulder bone
Jinchu - The area below the nose, upper lip
Hachi-Yo - The ear
Menbu - The face and forehead
Shoku Kotsu - The Adams apple
Itsuwa Tsuki Kage - The right side of the area around the navel
(Gorin along side the navel)
Itsuwa Inazuma - The left side of the area around the navel
(Gorin Along side the navel)
Sai - The inner thigh (Left thigh)
U-Sai - The right inner thigh
Yaku - The calf
Murasame - Area immediately below the Adams apple
Hoshizawa - The elbow joint
U-In - Area immediately below the right eye
Sa-In - Area immediately below the left eye
Tento - Top of the head
Shinchu - The chest
Wakitsubo -The armpit and ribs in the immediate area.
Kenkotsu - (root of the fist). This can also mean shoulder blade.

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(Hatsumi has used an old and unusual word that is not in a Japanese
dictionary)
Shikotsu - Root of the thumb
Butsumetsu - The side of the ribs
Jyaku Kotsu (Hoshishita ) - The gap between the upper and
lower bones of the arm at the elbow joint.
Daimon - The gap near the shoulder joint
Asagasumi - The chin
Hoshi - The armpit
Kimon - The nipple
Kinketsu - The ribs
Koshitsubo - Inside the hip bones
Koe - The leg joint
Tenmon - Above and below the eyes and nose
Amato - Area where the lymph glands are, about 2 inches (5cm)
below the ear.
Kyokei - The toes
Hadome (Kasumi Kaeshi) - One inch below the ear

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Shoden Gata

Yokut
Gyaku
Kyoku
Shit
Hosoku
Hteki
Shat
Ket
Saku Geki
Tan Geki
Batsugi
Sett
Shihaku
Kyogi
Kakk
Ura Nami
Ten Chi
Kata Maki

Kuden
The techniques of the Shoden Gata teaches your body the straightline movement which is characteristic of the Koto Ryu. Also
important is to learn the correct Kyusho and also the correct
directions of movement. Perform all these techniques on both sides
making a total of 36 techniques.

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Yokut (Scooping And Throwing)


Kuden This techniques meaning is to scoop the Uke up with your
shin and then to send the Uke sprawling. The important point is
making the movement of pulling your right leg back big and straight,
and at the same time to stretch out your left arm to create a straight
line from foot to hand.
The Uke grabs your left lapel with his right hand and your right
sleeve with his left hand (Kumi Uchi). Cover the Ukes right hand
lightly with your left hand. Move your left heel to by your right
foots big toe (about a 2 inch gap between the 2) and at the same time
press into Yugasumi with your right thumb then kick to Suzu with
your right shin with a swinging motion. Then step as far back as is
comtotable with the right foot and step forward with the left foot
and at the same time strike to Asagasumi with the palm of the left
hand. Zanshin.

Gyaku (False Push)


Kuden - The name of this technique means to press a vital point. The
important point is to place and drive your thumb into Shichibatsu
with accuracy.
The Uke grabs your left lapel with his right hand and your right
sleeve with his left hand (Kumi Uchi). Cover the Ukes right hand
lightly with your left hand. The Uke attempts to throw you with
Koshi Nage (Hip Throw). As soon as he does this, pull your right
leg and right hand back and push your abdomen forward, and drop
your hips then place your left thumb (your fingers face downwards)
onto his right side Shichibatsu (you can also push your left knee into
the back of the Ukes right knee to prevent the throw if he is stronger
or more skilled than you). As you drive your thumb into Shichibatsu

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(press forward and down), the Uke pulls his right leg back to escape
the pain this will open the Uke up. Then immediately strike with a
right Fudo Ken to right side Kimon or with Boshi Ken to right side
Butsumetsu twist your hips counter-clockwise to strike. If the Uke
is too far away to strike him, step in with your right foot to close the
distance.
The meaning of Butsumetsu is the Uke will have problems standing
for 7 days.

Kyoku (Resist And Scoop)


Kuden The technique means to deny the the Uke an attack. The
Densho says the throw can be of any type.
Both you and the Uke begin in Seigan no Kamae (left hand
forwards). The Uke attacks with a right Fudo Ken to your face. Step
off to the right with the right foot and receive the attack with a left
Uke Nagashi. Then immediately strike to the Ukes right side Kimon
with a right Fudo Ken (twist your hips counter-clockwise for this).
Then bring your right foot forwards to ajust your distance to enter
into Ganseki Nage at the same time wrap the Ukes right arm from
below with your left (at the point just above the Ukes elbow). Then
pass your left leg through the Ukes legs (the back of your thigh
should be in contact with the Ukes right leg). Lastly, twist your hips
clockwise to throw the Uke with Ganseki Nage. Back to Seigan no
Kamae and Zanshin.

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Shit (Fell A Tree)


Kuden The meaning of the technique is to take the Uke down as if
you were felling a tree. The main point of this technique is to use
your entire body to put on Omote Gyaku also use your left thumb to
cause pain at the point between the thumb and the forefinger.
The Uke grabs your lapels with Hon Jime (his right fingers inside
your left lapel and his left outside your right lapel using the left
forearm to choke). In response to this, raise your shoulders and tuck
your chin in to the left (this will prevent the choke) and step back
with your left leg. Cover the Ukes right hand with your left and
place the second knuckle of your right thumb (Koppo Ken) on the left
side Kasumi (Temple). To drop the Uke, twist the Ukes hand in
Omote Gyaku and at the same time press with the knuckle of the
thumb into Kasumi and at the same time step back and down to the
right knee to throw. Maintain pressure on the hand and Kasumi until
the Uke has submitted fully to you. Then return to Seigan no Kamae
and Zanshin.
You can also attack the temple with a scraping past motion with
Koppo Ken before using pressure.

Hosoku (Taking And Dropping Capture An Approach)


Kuden The meaning of this technique is to capture the Uke. This
techniques important point is to not for a moment take your eyes off
the Uke.
The Uke grabs your lapel with his left hand and punches to your face
with a right Fudo Ken (the Uke steps slightly forward with the left
foot no step with the right foot for this). Cover the Ukes left hand
with your right and step off to the right side with your right leg, drop

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your hips and receive the attack with a left Uke Nagashi. Without
stepping, open up your thumb and forefinger of your right hand
palm down and strike to the Ukes left Koe with your thumb. This
will make the Ukes upper body come forward also control the
Ukes right hand with your left forearm after Uke Nagashi. Then,
with or without a step forward with the left leg (depends on the
distance) strike the Ukes face with Kikaku Ken (your forehead) with
a feeling of striking through. Then Back to Seigan no Kamae and
Zanshin.
Remember to maintain eye contact.

Hteki (Scoop And Throw)


Kuden The name of this technique means to scoop up and throw the
Uke. The important point with this technique is to strike with the
Shuto shooting up, and then to throw with Koshi Nage whilst
grabbing Hoshi.
The Uke grabs your lapel with his left hand and punches to your face
with a right Fudo Ken (the Uke steps slightly forward with the left
foot no step with the right foot for this). Cover the Ukes left hand
with your right and step off to the right side with your right leg and
slightly back so that your body angle mirrors the Ukes. Drop your
hips and stoop really low and receive the attack with a left Ura Shuto
to the point called Hoshi on the right arm (the Shuto is upwards).
Then push up with your right hand to the Ukes left elbow (press into
Hoshi with the thumb) and transfer your weight to the left leg. Then
Yoko Aruki with the right foot (to about a foot away from the Ukes
right foot) and at the same time grab to the crease of the Ukes right
arm with your left hand (palm down). Then let your body re-align
itself naturally by turning counter clockwise pivoting on the balls of
your feet (as you turn you will end up facing the same direction as the
Uke the next movement is just before you reach this point). Move
your right foot to the outside and slightly behind the Ukes right foot

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and throw with Koshi Nage.


Zanshin

Finish with Seigan no Kamae and

Shat (Diagonal Topple / Take Down Diagonally)


Kuden This technique means to take the Uke down diagonally. The
important point here is when you strike with the right Boshi Ken into
Yugasumi, put all your body weight into it and at the same time to
kick into Suzu.
The Uke grabs your lapel with his left hand and punches to your face
with a right Fudo Ken (the Uke steps slightly forward with the left
foot no step with the right foot for this). Cover the Ukes left hand
with your right and step off to the right side with your right leg and
slightly back so that your body angle mirrors the Ukes. Drop your
hips and receive the attack with a left Uke Nagashi. Without
stepping, lean your body weight to the left and strike the Ukes left
Yugasumi with a right Boshi Ken. This will make the Uke lean
diagonally (this is the special charactaristic of this technique). Then
immediately kick up to Suzu (the groin area) with your right shin.
The back to Seigan no Kamae and Zanshin.

Ket (Hook And Topple Attack And Kick Down)


Kuden The name of this technique means to attack and knock the
Uke down. The main point is to strike the Ukes Omote Gyaku (this
is not the strike, it is the name of the Kyusho that refers to the middle
of the backs of the hands between the wrist and the knuckles) with
Nio Ken (with Nio Ken, for this technique strike with the second row
of knuckles) whilst stepping back and dropping your weight and
then rebounding from this to kick and knock the Uke down.

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The Uke grabs both of your lapels with both hands (right hand to left
lapel and left hand to right lapel). As soon has he does this, Strike
down to the backs of both hands powerfully and at the same time step
back with the right leg and drop your hips low maintain eye contact
(this movement happens all at once). Then immediately push your
hips forward and kick the Uke down with the right kick to Gorin
(stomach) (use your right foot to help propel you forwards). Then
back to Seigan no Kamae and Zanshin.

Saku Geki (Wrenching Attack)


Kuden The technique means to attack the Uke as though you were
wringing him out. The important point of this technique is to strike
straight up to Asagasumi whilst moving the right foot slightly
forward and slightly to the right to take balance.
The Uke attempts to grab both of your Lapels (as in the previous
technique). Before the Uke gets a chance to do this, move slightly
forwards and slightly to the right with the right foot and strike
straight up to Asagasumi with a right Boshi Ken to take the Uke off
balance. Then immediately adjust your left foot to the correct
distance (pull it slightly to your right) and kick with the right foot to
his right Kaku (just above the knee) with the sole of your foot (like a
sweeping motion the kick travels across). Then return to Seigan no
Kamae and Zanshin.

Tan Geki (Bearing Intensity)


Kuden This technique means to deceive and attack. The main point
of this technique is when you enter into Hoko no Kamae, stare into

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the Ukes eyes and emit the intention that you are going to attack
with your hands.
The Uke begins in Seigan no Kamae (right hand forwards). You are
not in any Kamae (Shizen Natural). The Uke attacks with a left
punch to the face respond by shifting 45 degrees back and to the
left with the left foot to evade. The Uke then attacks with a right
punch to the face respond by shifting 45 degrees back to the right
with the right foot, drop your hips low, and enter into Hoko no
Kamae to receive the attack (think of your left arm as a shield).
Then, stare into the Ukes eyes and emit an intention to attack the
Uke with your hands (an upper body attack) and suddenly kick the
Uke with your right foot to Suigetsu (solar plexus). Then stand in
Seigan no Kamae and Zanshin.

Batsugi (Removal Technique)


Kuden The name of this technique means to draw the Uke out. The
important point of this technique is to twist clockwise to take the
hand in Omote Gyaku, and counter clockwise to strike with Goshi
Ken.
The Uke grabs your lapel with his right hand. Place your left thumb
on the back of his hand (to the point called Omote Gyaku) and your
left hand fingers around the hand lightly. Step to the right with your
right foot, twist your hips clockwise, and press into the Kyusho on
the back of the hand and remove the Ukes hand from your lapel
(keep hold of the Ukes hand). The immediately twist your hips
counter clockwise, shift your weight to your left, and strike the left
side of the Ukes face with the tips of your right hands fingers
(Goshi Ken to the eye and cheek area) (Keep control of the Ukes
right hand). Then move off to the left with the right foot in Yoko
Aruki bring your right hand to the other side of the Ukes right
hand and push the Ukes right hand down vertically whilst dropping
the hips finish this movement by continuing the Yoko Aruki with
the left foot to the left (the Uke hits the floor within this movement

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let him fall, do not keep hold of the hand. At this point it will be
broken anyway). Then return to Seigan no Kamae and Zanshin.
The last step of Yoko Aruki can be the step taking you back into
Seigan no Kamae also.

Sett (Break and Knock Down)


Kuden This technique means to take the Uke down diagonally. The
important point here is to use use all your body weight for the strike
into
The Uke grabs your lapel with his right hand. Cover the back of the
Ukes right hand lightly with your left hand. Shift to the left with
your left foot and strike to right arm Jakkin with a right Omote Shuto
(Jakkin is located at the base of the bicep just above the crease of the
arm called Jyaku Kotsu / Hoshishita also) this will open up the
Ukes right side ribs. Then twist your hips clockwise and lean
slightly towards the Uke as you strike with a left Boshi Ken to the
Ukes right side Butsumetsu. Return to Seigan no Kamae and
Zanshin.
If the Uke has not let go of your lapel, the strike again to Jakkin with
Fudo Ken to break the Ukes elbow. Also, Boshi Ken can be weak if
the strike is not conditioned, if this is the case, replace this strike with
Shikan Ken.

Shihaku (Finger Clap)


Kuden This technique means to capture the Ukes rythem. What is
important here is to deceive the Uke into thinking that you are going
to kick.

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Both you and the Uke begin in Seigan no Kamae (right hand
forwards). The Uke attacks with a left Fudo Ken to your face. Step
back 45 degrees to the left with the left foot and receive the attack
with a right Uke Nagashi. The Uke then attacks with a right Fudo
Ken to your face. Step back 45 degrees to the right with the right
foot and receive the attack with a left Uke Nagashi sink low and
pull your hips back. Then, bring your right leg up powerfully to
make the Uke beleive that you are going to kick him, then change and
move forwards dropping down with the right foot and strike
powerfully to the Ukes Suigetsu with a right Fudo Ken (strike at a
45 degree angle down). Then return to Seigan no Kamae and
Zanshin.
The densho says that your final punch is a double punch. This does
not mean that you punch at the same time, rather the punches come in
one after the other, and with explosive power.

Kyogi (Whipping off Technique)


Kuden This technique means to refuse the Uke any attacks /
techniques. The important point of this technique is to have the same
rythem for Uke Nagashi, the attack to Toki and the Fudo Ken to
Gorin 1,2,3 this can be done at fast speed, but the rythem must be
maintained.
Both you and the Uke begin in Seigan no Kamae (right hand
forwards). The Uke attacks with a left Fudo Ken to your face. Step
back 45 degrees to the left with the left foot and receive the attack
with a right Uke Nagashi. The Uke then attacks with a right Fudo
Ken to your face. Step back 45 degrees to the right with the right
foot and receive the attack with a left Uke Nagashi. Shift your
weight forwards to your left foot, then lift the foot slightly and stamp
down with your heel powerfully to the Ukes right foot (this is very
characteristic of the Koto Ryu). Finally, with or without a right step
in, strike diagonally down and through to the Ukes Gorin with a

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right Fudo Ken (rotate the hips counter clockwise for this). Then
back to Seigan no Kamae and Zanshin.

Kakk (Bind And Beat)


Kuden The name of this technique means to strike and make the
Uke conceed. The important point with this technique is to put all of
your body weight into the kick and the strike.
Both you and the Uke begin in Seigan no Kamae (right hand
forwards). The Uke attacks with a left Fudo Ken to your face. Step
back 45 degrees to the left with the left foot and receive the attack
with a right Uke Nagashi. The Uke then attacks with a right Fudo
Ken to your face. Step back 45 degrees to the right with the right
foot, pull your hips back and lower them and receive the attack with a
left Uke Nagashi. Then immediately kick with the top of your right
foot into the Ukes right inner thigh (Sai). As the Uke looks down to
see what is happening, strike with a right Goshin Ken to Itto Nitto
Santo with a feeling of pushing the strike through and at the same
time, drop your right leg down from the kick. Keep your back
straight. (Itto Nitto Santo is an attack to the throat with 3 fingers and
is as follows your middle finger goes to the point Toki No Atari
which is on the top of the bone just below the adams apple. Ring
finger to the point called Ichiji which is on top of the point where the
left collar bone starts, and your index finger goes to the point called
San Atari which is on top of the point where the right collar bone
starts. Your hand movement for this is similar to the way a cat
strikes with its paw. As you kick, place your fingers at the same
time). Then return to Seigan no Kamae and Zanshin.

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Ura Nami (Inlet Waves)


Kuden This techniques name means an inlet where the waves are
quiet. The important point of this technique is to kick to Yaku which
will bring the Ukes head towards you which will make the strike to
the Ukes neck more effective.
Both you and the Uke begin in Seigan no Kamae (right hand
forwards). The Uke attacks with a left Fudo Ken to your face. Step
back 45 degrees to the left with the left foot and receive the attack
with a right Uke Nagashi. The Uke then attacks with a right Fudo
Ken to your face. Step back 45 degrees to the right with the right
foot, pull your hips back and lower them and receive the attack with a
left Uke Nagashi. Then immediately kick with the ball of your right
foot to the point called Yaku (inside of the calf muscle) with a
sweeping motion on the Ukes right leg and at the same time shift
your weight to your left leg. As your right foot comes to the floor,
strike (place and press more than a strike) the Uke to both sides of
Uko (located at the sides of the neck) with either Boshi Ken or Koppo
Ken (left thumb to right Uko and right thumb to left Uko) the
feeling for this is of falling directly in front of the Uke with the right
foot and striking to Uko, and continuing with a feeling of pushing on
a downward diagonal line, straight through. Finish with Seigan no
Kamae and Zanshin.

Ten Chi (Heaven And Earth)


Kuden - The reason this technique is called Heaven And Earth is
because you attack high and then low. The important point of this
technique is to use Kakushi Geri (using your toes) so that the Uke
cannot see it.

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Both you and the Uke begin in Seigan no Kamae (right hand
forwards). The Uke attacks with a left Fudo Ken to your face. Step
back 45 degrees to the left with the left foot and receive the attack
with a right Uke Nagashi. The Uke then attacks with a right Fudo
Ken to your face. Step back 45 degrees to the right with the right
foot, pull your hips back and lower them and receive the attack with a
left Uke Nagashi. Then immediately kick to Suzu with Kakushi Geri
(use the side of your big toe / inside edge of the right foot) and at the
same time shift your weight to your left leg this brings the Ukes
face forwards. As your right foot comes to the floor, strike the Ukes
face with a right Shako Ken (use the thumb to strike Jinchu and the
ring and index fingers to strike the eyes. Strike with the tips of the
fingers, not the palm of your hand). Return to Seigan no Kamae and
Zanshin.

Kata Maki (Single Sided Wrap)


Kuden The name of this technique means you wrap the Uke up with
one arm. The important point of this technique is to get inside and
stop the Uke with both hands.
Both you and the Uke begin in Seigan no Kamae (left hand
forwards). The Uke attacks with a right Fudo Ken to your face. Step
back 45 degrees to the right with the right foot and receive the attack
with a righleft Uke Nagashi. The Uke then attacks with a left Fudo
Ken to your face. Bring your right leg to a point in front of the Ukes
left leg and deflect the Ukes left arm with a right Uke Nagashi (this
movement feels more like meeting the attack rather than moving
away from it). From this position, take the Ukes left arm into Musha
Dori (only use your right arm to do this). Lastly, as you sink to your
left knee strike the Ukes Kimon or Butsumetsu with a left Boshi Ken
with a feeling of driving it through. Then back to Seigan no Kamae
and Zanshin.

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Chden Gata

Hida
Hisaku
Hich
Hit
Kappi
Monpi
Suit
Go Hi
He Hi / Heppi
Teki Gaeshi
Kt
Kakuhi

Kuden The Chuden Gata is training for making the body


movements nimble. This levels special characteristic is Hichojutsu
which is the ability to jump freely between movements so in this
level you should perform all techniques with this in mind with a
strong emphasis on the timing of your movements. Also, perform the
techniques from any Kamae (or no Kamae), any attack, and also with
you approaching the Uke or the Uke approaching you.
As with the Shoden, practice all of these techniques on both sides
making 24 techniques in total.

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Hida (Flying Strike)


Kuden The techniques name means jumping / leaping or flying and
then striking. This is the feeling you should use when doing this
technique.
The Uke approaches you. When he is in range leap in with your right
foot forwards and the left to the rear (hips rotate counter clockwise)
and strike the Ukes right Kasumi with a right Ura Shuto (this will
transfer the Ukes weight to his left leg as he falls). Then
immediately place the balls / toes of your right foot to the Ukes left
Suzu and whilst matching the timing of the Uke as he falls, leap / step
in with him to crush Suzu as your foot lands (this is called Kaki
Taoshi). The feeling for this is as if you were leaping / hopping from
one foot to the other (this IS difficult). This is not pushing or kicking
it is following and landing onto (the foor remains in contact with
Suzu though).
As you strike with Ura Shuto, your right foot should already be
coming up to Suzu. This is the correct timing.

Hisaku (Fly And Wrench)


Kuden The techniques name means to leap and constrict / bind.
The important point is to strike Uko then to constrict the body with
your legs.
The Uke approaches you. When he is in range leap in with your right
foot forwards and the left to the rear (hips rotate counter clockwise)
and strike the Ukes left Uko with a right Boshi Ken. Then
immediately grab the Ukes shoulders with both hands and leap up
and wrap your legs around the Ukes waist. At this point hook your
own feet together and choke the Ukes body with your legs. Then

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keep the pressure on the waist and allow your upper to drop (not to
the floor at this point) and wrap around the Ukes legs with your
arms. Slide to the floor and pull the Ukes ankles from under him to
make him fall to the floor keep your right arm where it is. Whilst
covering from a potential attack and also helping the restraint of the
Ukes left leg with your left arm, wrap your right arm around the
Ukes lower left leg so that your right wrist is against the back of the
lower muscle and lean your body back to constrict the leg (this is
very painful to the Uke). This will bring the Ukes torso up as it
does, kick with your right heel down to the Ukes chest as you escape
with Koho Kaiten.

Hich (Crane)
Kuden The meaning for this technique is to move in a nimble
manner, like a flying bird. The important point of this technique is to
knock the Uke over with Shako Ken and then a right kick to Gorin.
The Uke approaches you. When he is in range leap in with your right
foot forwards and the left to the rear (hips rotate counter clockwise)
and strike the Uke with a right Shako Ken to the face thumb to
Jinchu and index and ring fingers into the eyes. Then immediately
jump up, your right foot kicks the Uke into Gorin and your left leg
folds so that the foot is under your buttocks. Both feet land at the
same time. Back to Seigan no kamae and Zanshin.

Hit (Flying Fall)


Kuden The name of this technique means to leap and to knock the
Uke down.

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The Uke approaches you. When he is in range leap in with your right
foot forwards and the left to the rear (hips rotate counter clockwise)
and strike the Uke with the right hands ring, middle and index
fingers (tips together also known as Sanshitan Ken) to the Ukes
left side Kimon from above (this will make the Uke slump). Finish
him by leaping up and striking with both feet (toes) to the Ukes right
and left Butsumetsu simultaneously. From this, drop down into Koho
Kaiten (backwards roll) and come up into Seigan no Kamae and
Zanshin.

Kappi (Bind And Leap)


Kuden This techniques name means to leap and wrap up / finish the
Uke in an instant.
The Uke approaches you. When he is in range leap in with your right
foot forwards and the left to the rear (hips rotate counter clockwise)
and strike the Uke with right Ura Shuto to Ukes right Uko then
leap clockwise on the spot bringing the left foot to the front and the
right to the rear and strike with a left Ura Shuto to the Ukes left Uko.
Finish by leaping back to the rear into Seigan no Kamae and Zanshin.

Monpi (Grasp And Leap)


Kuden This techniques name means to leap, twist and crush.
The Uke approaches you. When the Uke gets close enough, step in
with the right foot (slightly to the right), drop your hips, and grab the
flesh around the Ukes left Butsumetsu with your right hand and at
the same time drive your right thumb into the Kyusho twist the
flesh clockwise to cause extreme pain and press in / down to make

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the Uke slump to his right side. At this point, the Ukes weight is on
his right leg and the Kyusho on the Ukes right leg called Koe is now
exposed jump up and kick across to the Ukes right Koe with your
right foot (toes / ball of the foot). Land with both feet at the same
time and go into Seigan no Kamae Zanshin.

Suit (Opposite Topple)


Kuden The meaning of this technique is to reverse and to counterthrow the Uke. It is important to drop your body low enough to
throw the Uke.
Both you and the Uke begin in Seigan no Kamae (left hand
forwards). The Uke attacks with a right Fudo Ken to your face. Step
back 45 degrees to the right with the right foot and receive the attack
with a left Uke Nagashi. The Uke then attacks with a left Fudo Ken
to your face. Step back 45 degrees to the left with the left foot, pull
your hips back and lower them and receive the attack with a right
Uke Nagashi. From this position leap back whilst staying in Kamae
(do not leap high, rather low and far). The Uke follows by leaping in
with the left foot forwards to the front of your body, his left arm goes
around your neck and right hand grabs your right sleeve the Uke is
now ready to throw you with Kubi Nage (neck throw). Respond by
immediately leaning back and pushing your hips forward (drop your
weight slightly). Then strike the Ukes right Butsumetsu with a right
Koppo Ken and then immediately strike the Ukes right side face
with a right Koppo Ken also (do this with your right arm behind his
back both strikes are fast, one after the other). Then reach behind
your neck with your right hand and grab the Ukes left sleeve (by the
wrist is preferable) and lift his arm over your head to your front
(your left hand also grabs his sleeve at this point). Your right elbow
is against his elbow. Then step in front of the Ukes left leg with
your right leg and pull your left leg back twist your body counter
clockwise and bring the Ukes hand to your left hip to throw the Uke
(do this by putting pressure on the elbow). Then, finish in Seigan no
Kamae and Zanshin.

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Go Hi (Leap / Fly)
Kuden This techniques name means to use your right hand in the
same manner that a cat catches a mouse.
The Uke approaches you. When he is in range leap in with your right
foot forwards and the left to the rear (hips rotate counter clockwise)
and strike the Uke with right Sanshitan Ken to Itto Nitto Santo to
drop the Uke sink your hips and lean in slightly as you strike. Then
stand in Seigan no Kamae and Zanshin.

Heh Hi (Lash And Leap)


Kuden This technique means to leap, strike and divide.
The Uke approaches you. When he is in range leap in with your right
foot forwards and the left to the rear (hips rotate counter clockwise)
and strike the Uke with right Sanshitan Ken to Itto Nitto Santo - then
leap clockwise on the spot bringing the left foot to the front and the
right to the rear and strike with a left Goshi Ken (Shako Ken) to the
right side of the Ukes face. Then leap back to a distance of about 6
feet into Seigan no Kamae. Zanshin.

Teki Gaeshi (Renounce And Send Away)


Kuden This technique means to strike, throw and turn over.

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The Uke approaches you. When he is in range leap in with your right
foot forwards and the left to the rear (hips rotate counter clockwise)
and grab the Uke with your right hand underneath the armpit and
press your thumb into Wakitsubo and lift him drop your hips when
doing this (this will make the Uke lean to his right). Then jump up
and Kick the Uke diagonally to his right Sai with the top of your right
foot both feet land together. Then enter into Seigan no Kamae and
Zanshin.

Kt (Throat Topple)
Kuden This name means to strike to an important place to defeat
the Uke.
The Uke approaches you. When he is in range leap in with your right
foot forwards and the left to the rear (hips rotate counter clockwise)
and strike the Uke with right Sanshitan Ken to Itto Nitto Santo.
Then, without letting the Uke recover from this, kick with your right
foot to Gorin / Suzu this is done at the point the Uke loses his
balance. Then return to Seigan no Kamae and Zanshin.

Kakuhi (Stir Up And Leap)


Kuden This technique has the feeling of knocking the Uke down all
at once.
The Uke grabs your left lapel with his right hand. Grab the Ukes
right sleeve with your left hand, step in with your right foot and and
strike to Asagasumi with your right palm (keep it there). As the Uke
loses balance, turn counter clockwise, bring your left foot to your
right - slightly to your rear (pull the Ukes sleeve and push the Ukes

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chin at this point) and kick upwards to the Ukes left Sai with your
right foot (backwards kick with the heel) to throw the Uke in the
manner of Uchi Mata Nage. Return to Seigan no Kamae and
Zanshin.

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Okuden Gata

Sant
Sant
Kot
Shinsen
Kompi
Sho Setsu
S Setsu
St
Kki
Kimon
Ransetsu
Ura Kimon

Kuden The main emphasis of the Okuden Gata is on Taihenjutsu


(body movement). When performing these techniques, you must
focus all of your intention and your spirit at the Uke with a feeling of
no beginning and no end as far as the techniques go ie, think about
the before, and the after. When you have finished each technique,
you remain is a state of readiness to deal with numerous enemies
whilst at the same time keeping your focus on the Uke (Zanshin)
this is an important part of the Okuden level.

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Sant (Gather And Hit)


Kuden This technique means to strike and crush an enemy who
approaches in a croud.
The Uke leaps in, grabs your left lapel with his right hand and your
right sleeve with his left hand and attempts to throw you with Uchi
Mata Nage. As he turns, pulls your right arm and raises his leg to
kick, allow your upper body to follow the pull strike the Ukes right
leg to Kaku with your right fist use Tsui Ken like regular Fudo
Ken but strike as though your hand was a hammer (the momentum
from the Uke pulling on your sleeve will make this easy for you be
sure to do this before the Uke has a chance to actually connect with
the foot). Then raise your hips and strike upwards powerfully to the
Ukes right arm with your left forearm to smash it away from you
(you can also strike with the right knuckles upwards to Hoshi
instead). Lastly leap back into Seigan no Kamae and Zanshin.

Sant (Gather And Topple)


Kuden - This technique means to defeat an enemy who approaches in
a crowd.
The Uke is in Seigan no Kamae (left hand forwards) with a Shoto
(short sword) at his right hip hip and attack you with a Chuden Tsuki
(thrust to your midsection). You are in Seigan no Kamae (right hand
forwards). As the Uke thrusts, pivot on your front foot and move the
back foot to your right thus pivoting the whole Kamae. Do this so
you are facing the side of the Ukes shoto (between 45 / 90 degrees
from the original position). Then, place your left palm against the
Ukes right wrist to cover, then, either strike with your finger tips or
the palm of your right hand to the Ukes right Hoshi to damage /
shock the Ukes elbow. Then, grab the Ukes wrist with your left

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hand (lean in to catch) and then strike the Ukes right hand with a
right Fudo Ken or Ura Shuto (strike from underneath your left wrist
the Uke will drop the Shoto) step in slightly with your left foot as
you do this. Then with your right hand, reach over to grab the Ukes
right hand in Ura Gyaku (your left hand also holds the Ukes right)
and step slightly to the right with the right foot and bring the Ukes
wrist to your chest in Ura Gyaku. Then kick with the left toes to the
Ukes left Sai (middle inner thigh), then drop this foot to the floor
and push the Ukes right wrist forwards to make him fall to the floor
(kick drop and push at the same time match the speed of the
Ukes fall). Enter into Seigan no Kamae and Zanshin.

Kot (Tiger Topple)


Kuden The techniques name means to defeat a tiger (to use a
technique against an enemy who is stronger than you).
The Uke is in Dai Jodan (left hand forwards) with a Shoto (short
sword) above his head and attacks you with a downward cut. You
are in Seigan no Kamae (left hand forwards). As the Uke cuts down,
leap slightly to the left with the left foot leading (do not move
forwards) then strike the Ukes right Hoshi with either an upper cut
with Fudo Ken or a horizontal Omote Shuto to make the Uke drop his
Shoto. Then, immediately leap counter clockwise to the front of the
Uke and strike with Ryote Happa Ken to Yo (palm slap to both ears).
Finish the Uke with a right shin strike up to Suzu. Return to Seigan
no Kamae and Zanshin.

Takamatsuden Books 2010

48

Kot Ry Koppjutsu

Shinsen (God Clip / God Cut)


Kuden This has the meaning of a severe technique (a God who
destroys).
The Uke approches and attempts a choke with Ryu Mune Dori right
hand grabs your right lapel (palm towards and thumb inside the lapel)
and the left hand grabs your left push with the right (rotating the
wrist counter clockwise) and pull with the left this is Ryo Mune
Dori. Step back with your left foot, drop your hips, and tuck your
chin in, and to your left, to stop the choke (before he has a chance to
apply the choke) and strike Happa Ken with both hands to Yo lift
your hips as you strike. Finish the Uke by slamming into Jinchu with
Kikaku Ken (forehead strike) drop your hips and arms as you strike.
Return to Seigan no Kamae and Zanshin.

Kompi (Surrounding Jump)


Kuden This technique means to divide inside and outside. The
important point is to strike at the instant the Uke comes forward.
Begin in Seigan no Kamae (right hand forwards). The Uke
approaches at the moment he is in range (from 1.5metres away), or
the moment that you feel that he is a threat to you, leap in with your
left foot landing by his right foot (your right foot travels about 220
degrees, with it landing to the rear in this leap so that you are ending
up with your body at a 45 degree angle to the Ukes right side). As
you land, strike to the Ukes right side Uko with Omote Shuto
powerfully. Finish by leaping away on the same 45 degree angle and
remain in Kamae (low and far for the leap) and Zanshin.

Takamatsuden Books 2010

49

Kot Ry Koppjutsu

Jo Setsu (Confuse And Crush)


Kuden This technique means to disrupt and crush the enemy.
As the Uke approaches you, wait until he is in close range and
simultaneously kick with your right foot to Suigetsu and strike with
an upper cut with Fudo Ken to the left cheek bone (between the nose
and the eye). An important point is as you strike, drop and rotate
your hips counter clockwise, and lean your torso back slightly to
allow both strikes to travel on a diagonal. The feeling is of swinging
the hips in to create power. Then return to Seigan no Kamae and
Zanshin.

S Setsu (Grab And Twist Out Of Place)


Kuden This technique means to grab and discourage.
The Uke approaches you with his hands out as if he may grab you.
You feel threatened by this and respond drop low with your hips,
step in with your right foot and grab to both sides of the Ukes ribs
(grab the flesh) and press your thumbs into Butsumetsu and lift your
hips (grab the flesh, press the thumbs in and raise with the hips in a
way that has the Uke on his toes, thus taking the balance). Then,
when the Ukes balance has been taken, twist your hips counter
clockwise and drop back to your left knee and throw the Uke over
past your left side with your hands in the same place as though you
were turning a big wheel counter clockwise. Finish by entering into
Seigan no Kamae and Zanshin.

Takamatsuden Books 2010

50

Kot Ry Koppjutsu

St (Hold And Fall)


Kuden This techniques name means to grab and throw down.
The Uke approaches you. When the Uke is in range, grab the Ukes
shoulders with both hands and push into Ryumon (located between
the clavicle and the trapezius the hollow in between) with your
thumbs to cause pain and to make the Uke slump. Then step in
slightly with the right leg and slam your forehead (Kikaku Ken) into
Jinchu. Then, drop straight down to the floor and slide your left leg
through the Ukes legs and place your right foot onto the Ukes left
side Koe throw the Uke with Tomoe Gaeshi (straight up and over
you landing onto his back). Follow the Ukes momentum and stick
with him as if doing Koho Kaiten to end up astride the Uke (hands
still on his shoulders). Finish by changing with your hands to Ryo
Mune Dori to choke the Uke. When the Uke has admitted defeat, get
up and enter into Seigan no Kamae, Zanshin.

Kki (Strike A Demon)


Kuden The meaning of this technique is to smite a demon.
The Uke approaches you. When he gets into range, step in with your
right foot, lower your hips and strike the Uke with Happa Ken to Yo.
Straight away leap into the air and strike with both feet into Suigetsu.
As both feet drop down at thew same time, roll back with Koho
Kaiten straight into Seigan no Kamae, Zanshin.

Takamatsuden Books 2010

51

Kot Ry Koppjutsu

Kimon (Demon Gate)


Kuden The techniques name means that you grab the Ukes Kimon
to throw.
The Uke approaches you. When he is in range, step in with your
right foot and grab under the Ukes left armpit with your right hand
and press your right thumb into Kimon (push in and down to make
the Uke slump and lose balance). Then, grab the Ukes sleeve at his
right elbow with your left hand, step to the left with your left foot,
and forwards with the right foot your right foot should be just
behind the Ukes right foot to his outside. Step back and down with
your left foot to a kneeling position, pull his right elbow and press to
Kimon to make the Uke fall over your right leg to throw him down
(in reality you make him fall in such a way that he lands on his elbow
to break it). Then return to Seigan no Kamae and Zanshin.

Ransetsu (Crazy Snow)


Kuden The name of this technique means the way snow blows
wildly around in the wind.
The Uke approaches you. When he is in range, step in with your
right foot and grab under the Ukes left armpit with your right hand
and press your right thumb into Kimon (push in and down to make
the Uke slump and lose balance) and at the same time, cover from
any potential attacks with your left hand. Then immediately, step in
throught the Ukes legs with your left foot and straight through with
your right leg the feeling is of slipping through (this is called Tate
Nagare) and pull the Uke down by his armpit use your left hand to
control the Ukes body. This technique is a type of technique known
as Sutemi (to sacrifice). Then, back to Seigan no Kamae and
Zanshin.

Takamatsuden Books 2010

52

Kot Ry Koppjutsu

Ura Kimon (Inside Demon Gate)


Kuden This technique means to kick to Ura Kimon (other name for
Gorin just above the navel).
The Uke approaches you. When he is in range, step in with your
right foot, drop your hips and strike down into Ura Kimon with a
right Shako Ken, with the feeling of grabbing. Then immediately
kick to the same place with your right foot to knock the Uke down.
Return to Seigan no Kamae and Zanshin.

Takamatsuden Books 2010

53

Kot Ry Koppjutsu

Hekit Gata (Sabaki Gata)

Sokuboku
Bokuhen
Damara
Shuriki
Kib
Batsu Yo
Seki Ryoku
Kuahi

Kuden The important point of this level is to move in a clockwise


direction this will make it difficult for the Uke to cut towards you.

Takamatsuden Books 2010

54

Kot Ry Koppjutsu

Sokuboku (Simple Kick)


Kuden This technique means to kick the Uke to take him down.
The Uke begins in Bikenjutsu Dai Jodan no Kamae. Begin in Seigan
no Kamae (right hand forward). The Uke cuts straight down
respond by moving your left leg 90 degrees to the left (circular) and
kicking to the Ukes hands with your right foot to kick his sword
from his hands. Your right foot lands from the kick to the inside of
the Ukes right foot and turn your hips counter clockwise then
strike the Uke to the face (Ganmen) with Goshin Ken (your 5 finger
tips) to knock the Uke down. Then, enter in Seigan no Kamae and
Zanshin.

Bokuhen (Simple Reply)


Kuden This techniques name means to strike back.
The Uke is in Bikenjutsu Chudan no Kamae. Begin in Hira
Ichimonji no Kamae. The Uke cuts to Do (from the point of view of
the swordsman step in with the left foot and cut horizontally from
left to right across your enemys stomach). Respond by leaping back
and slightly to your left in a clockwise motion (your left foot is
forwards when you land also make sure that you are off the Ukes
centreline) remain in Hira Ichimonji no Kamae but with your head /
eyes pointed directly at the Uke. At this point the Uke raises the
sword to Bikenjutsu Dai Jodan no Kamae as he does this, step in
deep with your right foot with your hips low and grab the Ukes left
elbow with your right hand press into left Hoshi with you right
thumb and press the Ukes left arm up (pull your left foot slightly
forwards to help with the push and to aid the next movement). Then,
kick to the Ukes Suigetsu with your right foot to knock him down.
Then return to Seigan no Kamae and Zanshin.

Takamatsuden Books 2010

55

Kot Ry Koppjutsu

Damara (Strike And Peace)


Kuden This technique means to strike to match the Uke.
The Uke begins in Bikenjutsu Chudan no Kamae. Begin in Hoko no
Kamae (left foot forwards). The Uke thrusts with Chudan Tsuki
(stabs to Suigetsu). Respond by stepping forwards to the left with
your right foot (your right foot is in front of your left foot) in Yoko
Aruki and twist your hips clockwise. Control the Ukes wrist lightly
with your left hand finish Yoko Aruki by moving left along the
same line with your left foot and smash down to the Ukes hands
with a right Fudo Ken to make the Uke drop his sword. Immediately
catch the Ukes right hand with both your hands. Now, step back and
down to your knee with your left leg and throw the Uke down with
Omote Gyaku. Then stand up and go into Seigan no Kamae
Zanshin.

Shuriki (Sword Hand)


Kuden This techniques name means to defeat the Uke with the
power of your hand.
The Uke begins in Bikenjutsu Dai Jodan no Kamae. Begin in Bobi
no Kamae (right hand forward). The Uke cuts straight down
respond by moving your left leg 135 degrees to the left (circular) and
strike the Uke to right Nagare (forearm muscle) with a right Ura
Shuto strike in such a way that the Shuto brushes down his arm and
ends by striking the base of his thumb bone this will make the Uke
drop his sword. From this position move off with your right foot as if
walking past the Ukes right side and strike with a right Omote Shuto
to the Ukes eyes / bridge of the nose to take him down. Finish in
Seigan no Kamae or Bobi no Kamae and Zanshin.

Takamatsuden Books 2010

56

Kot Ry Koppjutsu

Kib (Standing On Tiptoes And Gazing Into The Distance)


Kuden This technique means to stand on tiptoes and gaze into the
distance.
The Uke begins in Bikenjutsu Dai Jodan no Kamae. Begin in Seigan
no Kamae (left hand forward). The Uke cuts straight down respond
by moving your right leg 135 degrees to the right (circular), cover the
Ukes wrists with your left hand and twist your hips counter
clockwise and strike across to the Ukes right Jakkin with a right Ura
Shuto or Fudo Ken to make the Uke drop the sword (lean into this
strike). From here, kick to the Ukes Suigetsu with your right foot to
knock him over. Then back to Seigan no Kamae and Zanshin.

Batsu Yo (Walking Through Mountain Fields)


Kuden The name means to walk proudly through hills or fields with
high spirits you should step with this feeling.
The Uke is in Bikenjutsu Chudan no Kamae. Begin in Bobi no
Kamae (right hand forwards). The Uke cuts to Do (from the point of
view of the swordsman step in with the left foot and cut
horizontally from left to right across your enemys stomach).
Respond by stepping forwards very slightly to the left to evade the
cut (your body should be close to his hands enough to prevent the
Uke from cutting again). As you move in with this movement, turn
your right hand into a Fudo Ken and strike the Ukes Jinchu with the
feeling that he is running into the strike. Return to Seigan no Kamae
or Bobi no Kamae and Zanshin.

Takamatsuden Books 2010

57

Kot Ry Koppjutsu

Seki Ryoku (Strong Step)


Kuden This technique means to step in powerfully.
The Uke begins in Bikenjutsu Dai Jodan no Kamae. Begin in Hoko
no Kamae (left foot forwards). The Uke cuts straight down. When
you see that he has committed to the cut, step in powerfully with the
left foot and drop to your right knee keep your left hand raised as in
Hoko no Kamae to protect your head, and strike powerfully with a
right Fudo Ken to the Ukes Suigetsu. Finish by entering into Seigan
no Kamae and Zanshin.

Kuahi (Straddle And Fly)


Kuden The name of this technique means to leap in with both feet.
The Uke is in Bikenjutsu Seigan no Kamae. Begin in Hira Ichimonji
no Kamae. The Uke thrusts in with a Tsuki to your chest. Evade this
movement by pulling your right leg back and shifting your weight to
the right leg also (your hips dont twist keep your upper body in the
same position, just move it back away from the cut). The Uke then
raises the sword and steps in with the left foot and cuts to Do.
Respond by dropping to the floor in front of the Uke (your hands are
by his left foot) then immediately leap up from this position and
strike in with both of your feet (toes / balls of the feet) to Suigetsu to
drop the Uke. Finish by returning to Seigan no Kamae and Zanshin.

Takamatsuden Books 2010

Shinden Fud Ry Dakentaijutsu


(The Immovable Heart School)

Soke Lineage1
Ikai
Hogenbo, Tesshin
Sakabe, Tendo
1. Izumo, Kanja Yoshiteru (Kumano)
2. Minamoto, Hachiman Tamenari
3. Minamoto, Hachiro Tameyoshi
4. Mizuhara, Kuro Yoshinari
5. Mugaibo, Shinnen
6. Ohkuni, Zenhachiro Yoshinobu
7. Hata, Saburo Sasukeyasu
8. Kotani, Yuhachiro Nobuchika
9. Kaneko, Jinsuke Yoshikiyo
10. Tajima, Genkoro Nariyoshi
11. Kammon, Kokanja Yoshikane
12. Kimura, Hozen
13. Ibuki, Yoshihaha
14. Otsuka, Hakushi Nyudo Tadamori
15. Otsuka, Daikuro Tadahide
16. Abe, Muga
17. Koga, Taro Kyokokaku
18. Katayama, Hokinokami Mori Hisayasu
19. Shindo, Unsai
20. Odagiri, Tohyoe Yoshihiso
21. Iida, Jubee Tameyoshi
22. Mori, Genroku Masahide
23. Toyota, Jubei Mitsuyoshi
24. Toda, Shinryuken Masamitsu (Kobe) (1824-1909)
25. Takamatsu, Toshitsugu (Nara) (3.1.1888-1972)
26. Hatsumi, Masaaki (Noda) (12.2.1931)

Studied Tang Dynasty Kemp


1156, escaped to Iga
c
Shinden Fud Ry founder
d
1190, Lord of Rokusui Genoku Castle
e
2nd generation founder
f
3rd generation founder
b

Yeikyu (1113) a
Genyei (1118) b
Hogen (1156) c
Genkyu (1204) d
Tempuku (1233)
Bunyie (1264)
(?)
Geboko (1321 or 1331)
Shohei (1346)
Genchu (1384)
Shocho (1428)
Kwancho (1460)
Bummei (1469) e
Yeisho (1506) f
Taiyei (1522)
Tensho (1573)
Tensho (1573)
Bunroku (1592)
Kwanyei (1624-1644)
Kwanyei (1624-1644)
Meiwa (1764)
Bunkwa (1804)
Keiyo (1865)
Meiji (1824-1909)
Taisho (1909)
Showa (1968)

History 1

The founder of this school, Izumo, learned Chinese Kempo boxing. Today, some of this is still noticeable
within the techniques.
Izumo Kanja is also credited as being the founder of Kukishinden Ry Happo Bikenjutsu.
Minamoto Hachiman Tamenari is credited as being the 2nd Ske. At some point in his life he fled to Iga.
This was possibly a result of being on the losing side at the end of a battle.
For some unknown reason, the 13th Ske, Ibuki Yoshihara, is also listed as the 2nd Ske of Shinden Fud
Ry.
The 9th, and 10th Ske's, Kaneko Jinsuke Yoshikiyo, and Tajuma Genkuro Nariyoshi, were Grandmasters
of Shinden Fud Ry during the Japanese periods Shohei, and Genchu. These two periods are given names
from the southern court, when Japan was split by two members of the royal family. Each called themselves
the Emperor of Japan, and as a result, large battles between the north and south courts occurred. As a result
of this, many distinguished warriors gained fame, and many schools appeared based on the skills they had
acquired on the battlefield.

Most of the books on Japanese history by Stephen Turnbull will fully explain the reasons for the split between the
courts, and the battles between the two sides. The Kukishinden Ry was created during this turbulent period of
Japan's history.

Kuki Takei from the Kuki family of Kukishin Ry was also from the Shinden Fud Ry. Takenaka
Tetsunoke, senior student of Jigoro Kano, the founder of Judo, was at one time a student at the Shinden
Fud Ry dj.
"The Ry originated by Genpachiro Temeyoshi in the mid 12th century. It is traced back to Kosshijutsu,
which was introduced by Izumo Kanja Yoshitero". - 2
The Bugei Ry-ha Daijiten lists the Ske slightly differently from below, which is the list provided by
Hatsumi Sensei, and is missing the 17th and 18th Ske. There are in addition to the ones already listed:
14th successors: Otsuka, and Kora Taro (Daijiten's replacement)
16th successor: Abe Muga
The Bujinkan's 17th and 18th are missing from the Daijiten list; maybe held by one family or secretly
passed.
19th successors: Shindo, Narita Kiyobei (Daijiten's replacement), Narita Takashige
20th successor: Odagiri
The Bugei Ry-ha Daijiten also lists a Toda Gobei as being the successor to Toyota Jubeii, and not Toda
Shinryuken. This is possible, as Menkyo Kaiden are often given to more than one person. Both Toda's
trained at the Shinden Fud Ry dj at the same time, so it is extremely possible that they both received
the Menkyo Kaiden from Toyota.
The Bugei Ry-ha Daijiten also lists the 16th Ske as Abe Muga, who was Ske in the Tensho era (1573),
as being the Ske in the Karyu era (1326). During times of war, many people don't have the time to record
the facts as they happen. Generally they are written later, and as such mistakes are made. Sometimes
everything is recorded, and passed on by word of mouth. Over the years this can become grossly distorted,
and even information is lost, or forgotten.
Regardless of the periods when hey may or may not have lived, it is recorded that Abe Muga lived during
the Kamakura era, and came from the Rokujo family, which itself was a branch of the Minamoto family
(Genji). His mother, Otowa Hime was from the Abe family. The Abe family held a set of Amatsu Tatara
scrolls known as the Amatsu Tatara Rinpo Hiden. It is these Amatsu Tatara that the Takagi Yshin Ry
was originally based on.
When Abe Muga was a young boy he was adopted, but shortly after this he ran away to Iga province. Here
he met Koga Taro, who later became the 17th Ske, and then the 15th Ske, Otsuka Daikuro. From the
teachings they imparted on him, Abe is reputed to have founded Shinden Fud Ry.
Later, he wrote a scroll which he named Fud Ry Hyoho-den. In it he wrote the following:
"Some person's must be used for the sake of the nation. This is what martial arts truly are. It is to protect.
These persons gather and use necessary things for the nation's benefit. From birth one can not master
anything. Yet to start from basic training and developing the proper heart and Ki power one eventually
becomes a useful person."
In the scrolls there are other writings by Abe Muga, under the heading Michi No Hon Tai (True Substance of the
Way). These writings are about Kokutai (National Body).
Michi No Hontai

In many nation's a national social existence existed, developed, and grew to become a destiny among it's citizens.
This is the way (michi). The proper warrior walks the way combining the power of Ten (Heaven), and Chi (Earth)
for use for the benefit of the nation. This is that which can be done. As snow disappears, so does the snow fall again.
A foreign wind blows into the nation destroying the heart and harmony of the people. The national social form is
destroyed. Foreign influences that rise into our nation of Japan, for example, the story of the To era in China. From
such the foundations of Japan are shaken and the Emperor's power faded. The original body of Japan was gone. I
am not saying that foreign social influences are bad, and if good comes with it, it should not be refused, but not also
enforced. In Buddhism there is of the utmost consequence, the 'Seijin No Michi' (Saints Way). Foreign places have
foreign ways. The natural way of the natural substance of Japan must be kept, but if some influence comes it must
be ingested in a way so it becomes the same as that of Japan. Follow the way of Japan by choice or play around
with different lifestyles. The intelligent person can catch this point. Throw away the ego, and enter the way of
Heaven. Polish your martial art and learn the way of the Saint. Begin to view the nation body, open yourself to it.
Then expand from there to a world view. Look around, listen for the benefit of your nation. This is the true way to
know 'Michi No Hontai'.
Kareki 3 (1328) - Spring, 3rd month
Abe Muga

Toda Shinryuken Masamitsu, the 24th Ske, was a samurai, and a master in the Bikenshin Ry. He was
also a sword instructor to the Tokugawa Shogunate. He was Takamatsu Sensei's grandfather, and operated
a dj that had a plaque above the door, which read: "Shinden Fud Ry Dakentaijutsu".
This was the first style that Takamatsu Sensei learned from Toda Sensei.
In the scrolls it is written that Mizuhara Kuro Yoshinari, lord of Mizuhara castle, brought forth by
Minamoto no Yoshitsune during his flight from the capital. He was a great master of Iai (draw cutting). In
the scrolls of Fud Ry, it is written that he may have been the originator of Iai. 3

There exists another theory behind the origin of Shinden Fud Ry:
The Shinden Fud Ry was created by Kammon Kokanja Yoshikane in the Shocho era (1428), who is listed in our
lineage was the 11th Ske. He founded this school using the teachings of Izumo Kanja. It states that the yari was
taught to the founder by tengu, and these teachings still remain secret today. The school uses several different types
of yari, ono (war axe), tsuchi (war hammer), and naginata.
The Five Dj Rules (The Law of the Dj)
1. To know that patience comes first.
2. To know that the path of Man comes from justice.
3. To renounce avarice, indolence, and obstinacy.
4. To recognize sadness and worry as natural, and to seek the immovable heart.
5. To not stray from the path of loyalty and brotherly love, and to delve always deeper into the heart of Budo.
- Meiji 23 (1890) Spring, Toda Shinryuken Masamitsu
- Showa 33 (1958) March, Takamatsu Toshitsugu U

Principles
Kotsu (The Essence)
Shinden Fud Ry is broken into two halves, Jtaijutsu and Dakentaijutsu. The beginnings of the Jtaijutsu is solely
Jtaijutsu, but as you move further through the kata, Dakentaijutsu starts to seep in. So when the end of the
Jtaijutsu Okuden is reached, Dakentaijutsu is primary, and Jtaijutsu is secondary.
The Dakentaijutsu is the opposite of the Jtaijutsu, with more Jtaijutsu at the end.
"If you think there is a technique, there is no technique. If you don't think about the technique, there is one."
Hatsumi Sensei, 1992 Daikomyosai
"Nature is made up of moment to moment changes. It is very important not to lose one's way in those momentary
changes. Thus one nurtures courage through the warrior path. There are the following words: 'Startle not at the
myriad changes in life.' Nurture thus the courage to be able to change naturally, without being frightened by
change."
Quote from Hatsumi Sensei's video

Understand Nature. "The basics of Shinden Fud Ry begin with an understanding of nature. By training
with nature (i.e. in natural surroundings such as a forest or park) you can strengthen your legs, waist and
wrist (fists). Training should be with nature (i.e. lifting heavy logs or boulders, walking naturally as you
avoid thrown or swung objects, striking old or dead trees, dirt, or sand). Moving through a forest (walking
or running), rolling in this surrounding, and/or using the Kakushi Geri ('hidden kick') to strike trees or rocks
as you go past them. A person can train with tree branches to strengthen their arms, kick rocks to toughen
their legs and roll about the forest floor to enhance their Ukemi. This is the way of training, which does not
require a Dj (school) or limits practice to just exercise."
Multiple attacks. Hatsumi Sensei stressed the use of multiple attacks against an opponent.4
Understand birds. Hatsumi Sensei has repeatedly stated during training this year that in order to truly
understand Shinden Fud Ry we must understand the nature and behavior of birds.
Keep the right hand free. "In Shinden Fud Ry it is important to keep the right hand free and 'floating'
about. Free does not mean unresponsive or inaction. It does not mean that the right hand cannot be used to
strike or grab, parry or remove an opponent's attack. Rather the 'freedom' to act in these situations is exactly
why the right hand must remain free. Also, it was the limb that best controlled the sword [or 'soul'] of the
Samurai and as such must always be prepared to unsheathe the ultimate weapon of the defender."
Punching. In Shinden Fud Ry the hand is thrown in a natural manner by stepping forward with the leg.
Start from Shizen No Kamae. As you step forward to punch, bring your punching arm straight up from the
hip. There is no chambering of the arm. Remember to open your hips. The punch should become virtually
undetected to your opponent, and with the integration of the hip/leg movement and the arm, your punch
will be fast and powerful.

Reference
Essay on Shinden Fud Ry by Jeffrey Mueller
Bird Behavior by Josh Sager
1

Unless otherwise noted, all of the information on the History was provided by Paul Richardson.
Hiden Ninja Submission
3
Shinden Fud Ry Dakentaijutsu video, released by Quest
4
Masaaki Hatsumi, 1998 U.S. Tai Kai
5
Quote from Paul Richardson, regarding 1989 Hatsumi video
2

Shinden Fud Ry
by Jeffrey Mueller
Several people have asked some questions regarding the Shinden Fud Ry and how to train it. I thought I'd throw
out to everyone some of what I tend to examine and look at when teaching and training this Ry Ha. I preface this
with a disclaimer: This is what I have come to understand is the idea of the Shinden Fud Ry through numerous
trips to Japan and Tai Kais, I am not speaking for anyone other than myself and my training group. If you disagree I
want to know about it so that I can hear other peoples ideas and grow and learn as well. Thank you.
First and foremost remember that the Ry Ha that is listed on everyone's certificates is "Shinden Fud Ry
Dakentaijutsu." Remember to train it as such. What I am refering to is the principle of Dakentaijutsu, or applying the
damage before the attacker hits the ground. Many times people forget that this is the essence of Dakentaijutsu
training. Many times when applying Gansekinage we just revert to the standard old generic taijutsu version rather
than applying it in the context it was meant. Also with this idea striking training is of the utmost importance. In 1992
when Sensei focused on this Ry Ha he made more references to how to walk and strike than anything else. The
striking should be done with the proper intention (see further down for a indepth explanation) and in combination.
Sensei stressed that even though the striking is very important to allow your hands to remain in their natural state
without building up lots of callouses and the like. The natural striking combinations that don't require much
movement or commitment are the staple of this Ry Ha. (ie. - Koppoken to kasumi, then Omote Shuto to uko on
same side of the head with the same hand) The distance is also an odd matter, Sensei stressed strking and kicking
from very close distances. He stressed kicking to the head from distances of less than a foot from the opponent.
Training the flexibility is easy enough, but understanding power generation from that distance and those angles is
very tricky.
Masaaki Hatsumi, Shinden Fud Ry video - "Before all, knowing nature is the first foundation. Thus one trains by
using the things of nature to make the body strong. First one must condition the legs and hips. Then one must
condition the the fist. Then, for learning in the ancient teachings one did not build a dojo or make training tools and
then train. One would foremost use the things of nature. For the taijutsu of ganseki-nage throws, making use of this
bamboo's elastic force is very signifigant for strengthening one's body. Discovering such possibilities, one would
train using the bamboo to increase one's power. One uses the trees to pratice do-jime torso strangle, or here, doing
body strikes against a tree, part of a withered tree broke off and fell. Becoming able to sense such things is also a
part of the training. The ganseki-nage differs depending on direction. This one bends the bamboo while changing
direction. The nice sized tree could be used to toughen the forehead. Walking through a bamboo grove one practices
the unique kicking method of the Shinden Fud Ry. This is training in take-ori kicking. One walks and kicks
without stopping. Here, rather than breaking at once, one breaks gradually, with a series of blows. Then one tears
bark off trees. This is simialr to tearing human skin. One grabs and crushes, or grabs and holds, a withered core
inside a big tree. This training increases gripping strength for chokes and seizing muscles."
Understand that the Ry Ha is meant to be practiced while wearing the Daisho against someone wearing the Daisho.
The movements and ukemi from the Ry Ha reflect this. Again, it is too easy to fall into the generic taijutsu rut and
forget that the movements need to change slightly when taking this fact into account. The idea behind the flips,
handsprings and the cartwheels that are taught is to understand how to take ukemi while wearing the Daisho. Sensei
has said before that the scrolls state that to progress to the Chuden no Kata you must be able to do a handspring on
one finger. This refers to the absolute mastery of your own balance that is necessary to execute the katas with the
right feeling.
Another very important aspect of the training is the way your intention is held while training this system. Sensei
says that your kamae and intentions need to be held in the heart so that only you know them. By not projecting
intention when striking or throwing it is hard for the opponent to counter because it doesn't manifest as something
tangible until it is too late. This is not an excuse for lazy training though, actually it is very difficult to do this
correctly. The timing and feeling of the strikes are not like the other Ry Ha whatsoever. The strikes are powerful
and heavy handed without winding up or using arm power. The idea of inner intention is hard to master, when you
execute a strike or throw with this feeling it is important that you don't become attached to the technique. If you put
nothing into it (emotion, energy, etc...) then if it doesn't provide the results you expected it doesn't matter and causes
you no second thoughts.
Masaaki Hatsumi, 1989 Daikomyosai - "If you think there is a technique, there is no technique, if you don't think
about the technique there is one."
Masaaki Hatsumi, Shinden Fud Ry video - "Nature is made up of moment to moment changes. It is very
important not to lose one's way in those momentary changes. Thus one nurtures courage through the warrior path.
There are the following words 'Startle not at the myriad changes in life.' Nurture thus the courage to be able to
change naturally, without being frightened by change."

One last thing to throw out there to everyone. Sensei makes a big point of understanding the idea of the elbows
during Kumi-uchi as well. At the 1992 Tai Kai he spent a lot of time on stressing that the elbows create the openings
for everything else.
Masaaki Hatsumi, 1992 Tai Kai - "The elbows are important, many wonderful things come from this."
Jeffrey S. Mueller
Bujinkan Musha no Tomo Dojo
Capital Area Bujinkan

On Birds and Their Behavior


by Josh Sager
Hatsumi Sensei was quoted as saying that in order to truly understand Shinden Fud Ry, we must understand birds
and their behavior. This paper is a collection of observations and theories on bird behavior and their possible
correlation to Shinden Fud Ry and Ninjutsu in general. Some of the facts and notes presented may be obvious in
correlation, whereas others may be less obvious. In either case I hope you find the information interesting and
useful.
- Josh Sager, 10.11.98

Behavioral Similarities of Species


The Skylark, Sparrow, and Quail are all primarily ground-nesting birds.
Several of the kata in Shinden Fud Ry involve sitting (nesting) on the ground, or going to the ground as
part of the technique.
All of these birds, and including the Magpie, take off in a quick, explosive, vertical ascent.
The kata of Shinden Fud Ry that bear these birds' names all incorporate quick, vertical movements to
unbalance the opponent.
In the kata Unjaku, for example, the Tori drops to the ground, then quickly jumps up vertically to strike
Uke in the face with fudoken.
"In order to land as softly as possible the bird needs to be at the point of stalling when it is just above the landing
place. To do this it must judge the landing position from afar and glide into it in this manner, using up all its forward
motion and so greatly reducing the shock to the body that a harder landing would entail." (1)
Jack Hoban commented at the 1998 US Tai Kai in regards to the kata Fbi. His interpretation at the time
was the feeling of jumping onto the opponent at the apex of the jump, to eliminate force or excess weight to
be placed on the opponent.

Species-Specific Behavior
Skylark and Sparrow (Unjaku/Hibari kata)
In flight during a confrontation, Skylarks move with very small, quick movements, never staying in a repetitive
motion for very long.
Regarding Sparrow - "Sometimes chases end in encounters in which both birds grapple on the ground." (2)
"So many people think that you won't use your wings in a fight. Because the birds nose and claws on their feet, three
points. So you won't imagine it to use the wings. That is a form of kyojitsu you can learn from the skylarks. Learn to
use all sorts of weapons. Metsubushi or whatever, against people from all directions. Try to keep this with you in
training, don't just focus on one point." (3)
"One of the escape tactics on the skylark is to attempt to climb and remain above a high-flying falcon." (9)
"Sometimes birds also play dead. J. Couch in his book Illustrations of Instinct tells of a collector who caught a
skylark in a butterfly net. When he grasped her, she felt limp and motionless as if dead. He threw the body away,
and she fell to the ground like a stone. As she lay there, he pushed her body with his foot. After a short while the
bird, trailing a wing, shuffled off as if her wing and legs had been broken. When she was far enough away, she took
to the air in flight." (10)
Quail (Ugari kata)
Some species of Quail - "Usually escapes disturbance by running; seldom flies." (4)
Quail will hold tight and take off in a flurry of wings, like a puddle duck jumping off a lake. The first part of the
flight is mostly vertical, then veering horizontally with twisting and turning in flight to elude predators. This is
known to disrupt the momentum and balance of the predator bird, causing confusion.
In the kata Ugari, it is taught to go with the throw, then twist and turn horizontally (three-dimensional
movement) to counter-throw your opponent.
Quail will often provide distractions as a defense, to confuse a predator.
"Water birds, as everybody knows, have feet better suited to move freely through the water than to walking on land,
and that movement is truly elegant. Learn this footwork of the water birds - that is what this technique Ugari tries to
express." (5)
Magpie (Kasasagi kata)
During the nesting season, the male will protect its territory by swooping down and attacking animals or people it
feels are too close to the nesting site. They are very aggressive towards protecting their territory.

" Another description concerns magpie hawking in which a magpie trapped on the open prairie by a fast-flying
hunting falcon reached the shelter of a barbed-wire fence post. It proceeded to circle the post, always keeping the
post between itself and the falcon. The magpie would not fly even when the falconer walked up and picked it up.
Needless to say the magpie was spared out of respect for its shrewd tactic." (8)

Miscellaneous Bird Behavior Information


Color and Camouflage
"Color functions in almost every aspect of life of birds and can be considered under two categories: colors that
render a bird inconspicuous - cryptic colors; and colors that make a bird extremely conspicuous. Cryptic colors
provide camouflage by enabling birds to merge with their backgrounds. A good example is seen in different species
of larks, which inhabit desert regions
Cryptic coloration is often made more effective by the adoption of certain postures when predators threaten. For
example, when a Bittern is alarmed, it stretches its head to the sky revealing dark markings on its neck which merge
with the pattern of the reeds in which it lives
Colors that make birds conspicuous serve a number of different functions. Brilliant colors aid the recognition of
species." (6)
"Some of the most strikingly camouflaged birds are those that nest or live on the ground such as the Woodcock and
the Nightjars
Such patterns are called disruptive coloration, since they break up the outline of the bird
An important aspect of animal camouflage involves the elimination of shadows, The undersides of animals are often
more palely marked than the upperside. This is known as counter-shading since it serves to remove, or at least
reduce, the darker color that would result from the bird's own shadow on its underside
However, birds stand above the ground on thin legs and if the light is bright, they tend to cast a conspicuous shadow
on the ground, which may give away their position. For this reason many birds crouch down on the ground when
danger threatens so as to eliminate this telltale shadow. The head is drawn in or stretched out along the ground in
front of the crouching bird.
In all aspects of camouflage the behavior of the animal is crucial if the effects of the camouflage are not to be
ruined. For example many young waders are beautifully camouflaged, but only if they crouch, If they stand up then
their shadow gives them away at once
Similarly, the Bittern only achieves its best camouflage by drawing itself upright until it matches the vertical lines of
the reed-bed in which it lives."
Patterns of Attack
"How could such a small bird be so deadly? The robin attacks species much larger than itself. Its beak is very
slender, almost needle-like, and the robin uses it like a stiletto, thumping away at another birds with great accuracy.
The usual point of attack is the back of the head at the base of the skull. This is a very vulnerable spot in vertebrate
animals, for the spinal cord can be reached where the neck vertebrate meets the skull." (11)
The Rosey Egret is primarily a fish-eating bird. When hunting for food, it will walk in the water, spreading its wings
out, which creates a shadow. The fish are then unable to see the bird from above, only the shadow.
General
Most all birds, and all shore birds, will always face into the wind to be able to immediately take off and get away
from danger. By facing into the wind, they are able to achieve maximum lift without having to walk or run to "take
off". This is a good way to detect wind direction, as well as danger.
In Hich No Kamae, one leg is picked up and rests on the other. For birds, one leg is commonly lifted up against the
body cavity to stay warm. Birds lose most of their heat through their legs, so by keeping one leg up, the loss of heat
is greatly reduced. Although heat loss does not play a factor in Hich No Kamae, it is one possible explanation for
the formation of the kamae.

References
1. Birding - Their Life, Their Ways, Their World, pages 28-29. Reader's Digest Association, Inc.
2. Stokes - A Field Guide to Bird Behavior, Volume 2, page 309.

3.
4.
5.
6.
7.
8.
9.
10.
11.

Quote from Hatsumi Sensei


An Audubon Handbook - Eastern Birds, page 202.
Quote from Hatsumi Sensei
Birding - Their Life, Their Ways, Their World, page 22. Reader's Digest Association, Inc.
Birding - Their Life, Their Ways, Their World, pages 24-25. Reader's Digest Association, Inc.
Bird Behavior, page 113. Philip S. Callahan.
Bird Behavior, page 113. Philip S. Callahan.
Bird Behavior, page 113. Philip S. Callahan.
Bird Behavior, page 100. Philip S. Callahan.

Dakentaijutsu
Kamae
"There are kamae in Shinden Fud Ry Dakentaijutsu just as there are kamae in the Dakentaijutsu portion of its
training forms. Yet, in the Dakentaijutsu training these kamae are of the heart and mind rather than physical body
displays. They mirror their Jtaijutsu counterparts in how we prepare and then act to any situation that is presented
to us. For instance, one may feel hesitant toward an opponent. In the Jtaijutsu section of training perhaps we shift
into Seigan no Kamae thus preparing our body and mind for the encounter. On the other hand, in the Dakentaijutsu
training we rouse this same feeling of preparation, this it sense of caution, in our heart and mind all the while our
bodies do not move at all. The kamae for Shinden Fud Ry Dakentaijutsu are listed below."

Shizen No Kamae

Shizen No Kamae
Translation: Natural Posture

Kamae: (H) Both hands are in fudken, palms are facing hips.
(F) Stand shoulder-width apart.

Comments: None

Waza
"First, the ten no kata (shoden) training way is "ikken hass", which means "one first, eight aspects". You should do
each kata with at least eight henka, and your awareness in all eight directions as well."

Ten No Kata (The Heaven Forms)

Nichigeki

Gekkan

Fbi

Ury

Unjaku or Hibari

Setsuyaku
Musan
Karai

Nichigeki
Origin: Shinden Fud Ry Dakentaijtsu Ten No Kata

Translation: Solar Strike/Sun Strike


Nichi = sun/solar/day, Geki = strike/attack/fierce

Technique: In kumi uchi, (U) attempts otoshi


Drop hips, lt boshiken to (U) lt kidney
Rt shakoken (U) face
Step in behind (U) rt leg with rt leg, osoto gake
When (U) is on floor, apply straight arm lock

Comments: "In Shinden Fud Ry, this right hand is the trick. Moreover, there are no set postures. Body
change becomes the postures. The opponent comes with a back throw. Here it is important to
drop the hips, but the hand is even more important. One uses it, for example, to find the
opponent's weapons. This is one possibility.
... When thrown with a back throw while wearing a sword, it is very dangerous if you don't
land feet first. Put on a sword. Put on a long and short sword. The fact of the two swords is
important. When you come in here, you have to come in between the swords. Break the fall
in this manner."
- Quote from Hatsumi Sensei's video

Gekkan
Origin: Shinden Fud Ry Dakentaijtsu Ten No Kata

Translation: Moon Feeling/Moon Mind


Moon Liver [lit.]

Technique: (U) right punch


Lt jodan uke
Rt shuto (U) neck
Hold (U) rt hand with your lt, grab (U) rt shoulder with your rt
Rt kick to (U) groin or stomach
Step back with rt leg, gyaku to drop (U)
When (U) is down on the ground, apply arm lock

Comments: "Here rather than punching with the hand, bring the leg forward first and throw the fist at the
opponent. This is a characteristic of the fist of Shinden Fud Ry. One punches in a straight,
natural manner. This fist is not twisted here. Thus, for instance, when punching the
opponent's throat, the punch is set up from here. It is already determined here. This makes
the punch strong. Then launch forward. Now let's try the technique. The opponent comes
with a punch. Dodge by avoiding the strike. Then turn to the side. Then as you take the
opponent's shoulder. If he comes with the other hand, you can avoid the strike. This is
important. If you want to do something nastier, move in like this, with an elbow strike. This
type of body movement is important. Move in and kick. Then bring down forward. The arm
is the crux here. Moving forward across it, falling across the arm, you can break it. This is
one point. He punches. Avoid.
When you move in here, as you can see, the swords can hit you. That is why I moved into
the space between the hilts. From here, you cannot kick with your feet. In such a case, draw
back and kick. Then pull him forward with a broad movement. The opponent falls forward.
Here, the opponent displaces his own ribs with his sword guard. Then as you lean on his arm
and pull on his sword, the opponent is forced to submit. Let's try it with a real sword.
The opponent punches. Move into here. From there, lift the elbow and come in with the
knee. Then draw back. The sword guard goes into the ribs. Then as you lean on the arm it
becomes painful. If you lift the sword it becomes even more painful. In this way, when the
opponent is wearing swords, just some simple techniques can be very powerful. Next one.
The opponent comes in. Strike him with this. Then choke. Bring his head down and choke.
Then throw. When throwing, use the hilt like this.
Punch. When you've moved out to a distance, come in with a kick. Then rather than taking
the shoulder, take his scabbard. Then take him down in this direction. Then squeeze like this
with the swords. Then draw the sword, and holding him down, cut. This time you are both
wearing swords. The opponent punches. Now use the other sword to stab."
"To drop the (U), push up on gyaku, don't pull down on (U) shoulder."
- Quotes from Hatsumi Sensei

Fbi
Origin: Shinden Fud Ry Dakentaijtsu Ten No Kata

Translation: Brought Down by the Wind/To Take by Storm


Wind/Feeling [lit.]

Technique: (U) hon jime


Grab (U) trapezius muscle
Jump up, wrap legs around (U),squeeze legs together
Strike (U) nose with base of rt fist
Drop to floor, koho kaiten

Comments: "When the opponent comes in wearing a pair of swords, if you take the swords like this he
will stagger back. Some people say that when the opponent is wearing two swords you have
to squeeze from outside. When squeezing from outside, you can do something like this. Then
eventually you can proceed to draw. When the opponent has come in like this, you have to
lift the sword as you go to grasp. When he comes to grab, lift his swords as you grab his
shoulders. Then leap like this. Hit with the hilt. Then fall back and get right up. Rather than
just falling, you can throw things into his eyes and the like. There are many variations when
the opponent is wearing a pair of swords.
When the opponent comes in with a choke, grasping his shoulders from inside in front is one
technique. Press in here. Then come in from behind like this. Squeeze his torso and press
down on his jaw."
- Quote from Hatsumi Sensei's video

Ury
Origin: Shinden Fud Ry Dakentaijtsu Ten No Kata

Translation: Rain Dragon

Technique: (U) full nelson from behind


Lower both arms, hold (U) rt hand with your rt hand
Step back under (U) rt arm, ura gyaku (U) wrist
Step back, kneel on lt knee while pushing (U) elbow
Throw (U)

Comments: "From this hold, rather than trying to escape, it is important to bring his hands down. From
there, you can take his hands. Here, you press into the gokoku vital point. Get his leg here.
From there continue with this hold. I let it go because it hurts. Then throw him forward. This
is one version. Next with your arms up high, you can pull like this to throw him over.
Holding with the fist, hit him with your knee. Let's go to the next variation. The opponent
holds you firmly. He also gets your neck. You can't use your hands. Move like this. Press
down."
- Quote from Hatsumi Sensei's video

Unjaku or Hibari
Origin: Shinden Fud Ry Dakentaijtsu Ten No Kata

Translation: Cloud Sparrow/Skylark

Technique: (U) right punch


Drop down on rt knee, rt punch (U) face as you rise
Grab the flesh under (U) lt armpit with rt hand
Step back with rt leg, pull forward with rt hand to throw (U)

Comments: "Use this to parry the opponent's punch. This is one method. Now the reverse situation. The
opponent punches. Avoid. Move up while drawing the sword. Then stab.
Come in like this. The hand comes in together. Also come in with the shoulder. The punch
goes in together, then kick. Kick in a way that he can't see it. You can deliver a series of
kicks. Next go in like this, taking out the knee."
"In the densho it is written that you put your hands on the floor, it shouldn't be a big
movement. But it is also important to know even if they write "te" it doesn't just mean hand,
that is the literal meaning. Many people that read the densho sees the character of "te" which
literally means hand, but it can also refer to technical skill as well. You have to be able to
read in to this.
If you move like this sort of lovely bird, your techniques will become better. They will
become the techniques of a true skylark. The movements of this year is the Shinden Fud
Ry where the theme is nature. You should not just learn it in a human sense, but also in an
animal sense, learning from nature. Because now people have forgotten how to learn from
nature, people should learn from nature. There is many things a human eye can learn from
skylarks. So that is what is important rather than just a technique called Hibari. So have this
in your heart when you train.
If you think that a little bird like that does not have that much strength. Forget the fact that
you are a human being. Then you will understand how a skylark will move and what the
capabilities of a skylark are. Then you will be able to catch the feeling of the technique. So
try to comprehend this feeling of nature, this natural feeling. You can't do it like human
beings, you won't be able to do it well. Learn from the birds. And once you have done it, you
will be able to do it as a human being to. Then you will be a little bit closer to do a natural
technique, a technique of the gods. Because whether it is a skylark or a human being, both
are created by god. That's why it is important to go beyond this, to excel this important bird.
So train with this in your heart.
They say about the knife in cooking, the longer the knife the better it cuts. So the Ninja-to is
very short, it is not very good at cutting. So when you use a ninja-to you rather end up
thrusting instead of slashing. And when you are gonna cut with a ninja-to, you will aim at a
vital spot. So the way you use the sword totally changes.
So many people think that you won't use your wings in a fight. Because the birds nose and
claws on their feet, three points. So you won't imagine it to use the wings. That is a form of
kyojitsu you can learn from the skylarks. Learn to use all sorts of weapons. Metsubushi or
whatever, against people from all directions. Try to keep this with you in training, don't just
focus on one point."
- Quotes from Hatsumi Sensei

Setsuyaku
Origin: Shinden Fud Ry Dakentaijtsu Ten No Kata

Translation: Snow Gleam/Snow Flurry

Technique: (U) right punch


Left jodan uke
Take hold of (U) rt wrist with lt hand
Step in with rt leg
Barring (U) elbow with your bent rt arm, gyaku seoinage

Comments: "The opponent comes punching. Here, it is important to rotate his wrist. Strike in, moving
with the body. The elbow hits here as well. Let's try again. The strike goes in here. From
there, move in with the hips and throw the opponent. From there, hold him down. You are
pressing down on his neck and twisted arm. Next one. The opponent punches. Avoid. This
time, do not twist his arm. When not twisting, move here into omote gyaku, applying it with
the legs. Applying the gyaku, take him down. The vital point strike with the elbow goes in
right away. Sometimes the term "elbow" (hiji) is used in reference to the legs. Then apply
gyaku. Press down with the knee and apply a total choke."
"We are doing another technique from Shinden Fud Ry, it is called Setsuyaku. It is like
snow is dancing, or the snow is alive. That is the feeling behind the technique. Now we do
the basic form with Sveneric san. Imagine him as a a lively snowman, not the Yeti, just an
ordinary snowman.
It is not necessary to throw the opponent, or try to do the technique 100%. Because at this
position you might be able to draw your sword. Many people try to make the technique work
perfectly to the last moment, but then the space (kukan) dies."
- Quotes from Hatsumi Sensei

Musan
Origin: Shinden Fud Ry Dakentaijtsu Ten No Kata

Translation: Scattering Fog

Technique: (U) right punch


Turn clockwise outside (U) punch, hold of (U) rt hand with your lt hand
Push (U) arm to the side as you rt punch (U) face
Step under (U) right arm
Pull on (U) arm to straighten
Rt shuto (U) elbow

Comments: "Here you walk forward, opening to the side based on the manner of walking, at which time
you punch naturally. This punch is for when you are walking past each other.
Punch in from below.
You punch naturally. Let me do it alone this time. Walk naturally in this manner. Shifting to
the side, punch with the fist. So you do not punch straight. You walk like this and deliver a
vital point strike in a natural manner. Walking like this, shift the legs a little and strike."
- Quote from Hatsumi Sensei's video

Karai

Origin: Shinden Fud Ry Dakentaijtsu Ten No Kata

Translation: Mist Thunder/Mist Lightning

Technique: (U) right punch


Place lt hand under (U) rt
Step back with lt leg, pulling (U) forward while rt punch (U) ribs
Take ori (U) rt arm while holding (U) rt shoulder with rt hand
Step back with rt leg while pushing up with lt arm, and pulling down with rt
O gyaku

Comments: "As before, rather than punching with the hand, use the legs to deliver the hand to the
opponent's vital points. Bring it there and then hit. From there, draw back. Then fold the
hand into take ori. Take the hand into take ori and apply a joint reversal to the elbow. Then
take the other arm and get his spine. Let's go to the next one.
This time, when the opponent grabs your lapel, move like this with his grabbing hand to
punch him in the solar plexus. Bring the punch in like this. Punch by hiding the fist so that
the opponent cannot see it. Then the elbow goes in. Punch, then the elbow. Then pull his arm
out straight. Taking both his arms, attack his spine."
- Quote from Hatsumi Sensei's video

Chi No Kata (The Earth Forms)

Riken

Shinken

Raiken

Henkyo

Issen

Akuken

Kenkon

Suiry

Riken
Origin: Shinden Fud Ry Dakentaijtsu Chi No Kata

Translation: Reason Fist

Technique: (U) in Seiza, (T) in Fudza


(U) Grabs the left lapel with the right hand
Push your scabbard up with your left hand, reach across (U) arm and use the tsuka to apply
ura gyaku
Left keri to (U) sternum whilst leaning back
Straight arm lock

Comments: "The opponent grabs your lapel. You can jam his hand in using the sword. You can also use
both swords. When kicking, pull on his arm and kick. Take the hilt with the other hand and
bring him forward like this. Then draw the sword and stab. Use the long and short swords in
turn. Let's do another one. The opponent grabs. Moving towards him with your body hit his
chest with the hilt. Then bring the hilt to the outside. Without using too much force, move
like this, capturing his arm from both sides. Drawing the long sword in turn, take the
opponent's neck. You can break his arm here."
- Quote from Hatsumi Sensei's video

Shinken
Origin: Shinden Fud Ry Dakentaijtsu Chi No Kata

Translation: Heart Fist

Technique: (U) in Seiza, (T) in Fudza


(U) right hand grab to the left lapel
Right punch (U) inner elbow, right keri (U) sternum
Upward strike with the left forearm to (U) right arm
Koho kaiten
Comments: "The opponent grabs your lapel. When striking the jakkotsu here, move up on his arm and
strike. Strike like this. In this way, you can kick up immediately. Then you can for instance

roll over here. Or this next move is also important. Hit like this. Then come in like this,
taking the arm and leg. The opponent grabs your lapel. When striking the jakkotsu here hit
the leg at the same time. Then right away you can get the jaw. Then get the groin. Then
throw."
- Quote from Hatsumi Sensei's video

Raiken
Origin: Shinden Fud Ry Dakentaijtsu Chi No Kata

Translation: Thunder Fist

Technique: (U) in Shizen, (T) in Fudza


(U) right keri
Lean back to the right using the right hand for support
Left gedan uke (hold (U) leg)
Right keri to (U) groin

Comments: "The opponent kicks. It's important to move to the side a little. It's important to take the leg
naturally. Taking the leg naturally and turning it in, kick the groin. One more. Kick. Leaning
on your arm and turning his leg over, kick the groin. Then kick the leg. You can break it
here. Then move in like this. Next, let's do it with swords. The short sword as well. The
opponent kicks. Take his leg with your shoulder and lift the sword. Capture it like this. Then
stand up. Draw the sword. From here, take down. This is dangerous."
- Quote from Hatsumi Sensei's video

Henkyo
Origin: Shinden Fud Ry Dakentaijtsu Chi No Kata

Translation: Changing Emptiness

Technique: (U) standing, you in Fudza


(U) left hand grab to the right lapel. Right thrust with the kodachi to the stomach
Start to apply omote gyaku using your right hand
Right keri to (U) sternum as he thrusts
Stand up and continue omote gyaku

Comments: "This is one possibility, where you kick with this leg. You get his face here. Then you take
the elbow. You are hitting a vital point. The opponent thrusts straight, so you have to go
down to the side. Here you can get the elbow and the face. Then the kick."
- Quote from Hatsumi Sensei's video

Issen
Origin: Shinden Fud Ry Dakentaijtsu Chi No Kata

Translation: One Flash

Technique: (U) in Shizen, (T) in Fudza


(U) right keri
Gedan uke
(U) right jodan kiri with kodachi
As (U) cuts move to the left, grab (U) right hand with your right hand
Right sweeping kick using the sole of your foot to the inside of (U) right ankle while you
pull down with your right hand

Comments: "The opponent kicks. Strike the kick in the manner of assuming a posture, hitting a vital
point. As he cuts, stand your knee up. This is important. From there, take down and control.
The opponent kicks. Strike. Get up and move in. This movement involves moguri gata. The
opponent kicks. Strike. He cuts. Move in like this and take down. Crush him down here.
Good. Let's do one more. The opponent kicks. Hit him here. Now he cuts. Move in here."
- Quote from Hatsumi Sensei's video

Akuken
Origin: Shinden Fud Ry Dakentaijtsu Chi No Kata

Translation: Bridge Fist

Technique: (U) in Daijodan No Kamae, (T) in Fudza (U) jodan kiri


Koho kaiten while kicking (U) hands with your right leg, into seated right Ichimonji No
Kamae

Comments: "Against the opponent's cut, this time stand up and move in straight. Move like this, taking
his short sword. Once more. Go in like this. Then sweep the leg."
- Quote from Hatsumi Sensei's video

Kenkon
Origin: Shinden Fud Ry Dakentaijtsu Chi No Kata

Translation: Heaven Earth

Technique: (U) jodan kiri from behind, (T) in Fudza


Lean to the left side and lift your right knee up so that it is parallel to your body
Grab (U) hands with your right hand and pull (U) forward onto your right thigh
Apply ura gyaku as you stand up and turn in a clockwise direction
Disarm (U) and cut

Comments: None

Suiry
Origin: Shinden Fud Ry Dakentaijtsu Chi No Kata

Translation: Weeping Willow

Technique: (U) in Seigan, (T) in Fudza


(U) tsuki
Lean to the side using the right hand for support
Use your left hand to grab (U) left elbow and push to the side
Right keri (U) stomach stand up while using the right arm to encircle (U) two arms from
underneath
Squeeze together, step behind (U) right leg with your right leg, osoto
Disarm and cut

Comments: None

Shizen Shigoku No Kata (Pattern of Natural Ultimate)

Tai Nagashi

Kobushi Nagashi

Fubatsu

Ryte Gake

Kasasagi

Suzu Otoshi

Kasumi Otoshi

Rt

Fud

Ugari

Fukan

Shizen

Fudozen

Tai Nagashi
Origin: Shinden Fud Ry Dakentaijtsu Shizen Shigoku No Kata

Translation: Body Flow

Technique: (U) left hand grab to the right lapel, right punch
Hold (U) left hand with your right, push to the side to put some pressure on the arm using
your forearm
Left jodan uke, grab (U) left lapel and push up with your right hand
Yoko nagare, continue rolling until you are seated upright

Comments: "Grasp naturally, avoid naturally, throw naturally. It looks like a series of separate
movements, but it is not. The opponent comes with a punch. Avoid it naturally, grasp
naturally, throw naturally. There is no need for theory."
- Quote from Hatsumi Sensei's video

Kobushi Nagashi
Origin: Shinden Fud Ry Dakentaijutsu Shizen Shigoku No Kata

Translation: Fist Flow

Technique: (U) left hand grab to the right lapel, right punch
Cover (U) left hand with your right
Right jodan uke, use your left and right hands to put a hon gyaku (U) left arm, pushing up
with your right hand while stepping in with your right leg

Pull back down with your right hand, keeping the lock on
Turn clockwise and use the lock to throw (U)
Comments: "Of course the opponent will try to punch you. Thus you do not look at his punching fist.
Then, with a fierce power, an explosion-like technique applied naturally against the
opponent's attack. However strong the opponent may be, one just changes in response. One
changes naturally."

Fubatsu
Origin: Shinden Fud Ry Dakentaijtsu Shizen Shigoku No Kata

Translation: Unswerving

Technique: (U) left hand grab to the right lapel, right punch
Straight away grab his left shoulder with your right hand
Left jodan uke
Right keri to (U) stomach
Step in with your left foot so that you are at a right angle to (U) body while using your bent
arm to push up under (U) right armpit while pulling with your right arm
Drop down so that you are kneeling on your right knee and turn clockwise to throw (U)

Comments: "When the adversary takes your lapel, you too take that adversary's shoulder. You take it
naturally. The language of nature gives power to the subsequent change of the technique."
- Quote from Hatsumi Sensei's video

Ryte Gake
Origin: Shinden Fud Ry Dakentaijtsu Shizen Shigoku No Kata

Translation: Two Handed Hook

Technique: (U) hon jime


Using both hands under each of (U) elbows put on a nerve hold, step back with the left foot
while pulling down with the left arm and pushing up with the right
As (U) resists, reverse the movement and throw (U) with ganseki nage

Comments: "The opponent chokes my neck. It is natural that I should also choke vital points at the
elbows of his choking arms. The opponent moves because of the pain. So you also move.
This movement becomes like the drifting clouds and flowing water."
- Quote from Hatsumi Sensei's video

Kasasagi
Origin: Shinden Fud Ry Dakentaijtsu Shizen Shigoku No Kata

Translation: Magpie

Technique: (U) hon jime


Grab both elbows from underneath
Drop back and put the right foot against uke's left hip and do tomoe nage

Comments: None

Suzu Otoshi
Origin: Shinden Fud Ry Dakentaijtsu Shizen Shigoku No Kata

Translation: Bell Drop

Technique: (U) grabs right bicep with the left hand


Grab (U) left elbow with the right hand (turn the hand like musha dori), the hand on top of
the elbow, and grab (U) sleeve
Step back with the right foot and pull (U) with you
Grab your own right shoulder with the left hand above (U) left hand. (U) hand is now held
between the left wrist and arm
Pivot to the left and go down to the left knee. (U) falls on his stomach
During the left turn, (U) hand will turn into ura gyaku

Comments: None

Kasumi Otoshi
Origin: Shinden Fud Ry Dakentaijtsu Shizen Shigoku No Kata

Translation: Mist Drop

Technique: (U) left hand grab, right tsuki


Check (U) grabbing hand and step back and to the right, left jodan uke
Follow with omote gyaku to (U) left hand, but keep (U) hand pressed against the body

(U) falls onto his back


Right keri (U) ribs

Comments: None

Rt
Origin: Shinden Fud Ry Dakentaijtsu Shizen Shigoku No Kata

Translation: Wolf Topple/Falling Wolf

Technique: (U) right hand grab to the left lapel, left punch
Right jodan uke, place the right hand over (U) right, ura gyaku while stepping forward with
your left leg and simultaneously strike to (U) right armpit
Step back to take (U) down
Left keri (U) ribs when (U) is on the floor

Comments: "Against the opponent's attack, immerse your body in nature. Then ignite the fanning of the
body and the striking fist. Then cause the opponent's body to explode. That is the
characteristic of this technique."
- Quote from Hatsumi Sensei's video

Fud
Origin: Shinden Fud Ry Dakentaijtsu Shizen Shigoku No Kata

Translation: Unmoving

Technique: (U) left hand grab to the right lapel, right punch
Put your right hand under (U) hand, then put a take ori on while you step back and to the
side with your right leg. At the same time punch (U) right arm with your left
Step clockwise under (U) left arm maintaining the lock and hold (U) bent arm behind his
back
Grab (U) collar with your right hand and walk backward
Stamp on the back of (U) knee with the sole of your left foot

Comments: "In stopping the opponent's movement, the two of you change to finally reach the place of
unmoving. The terminal (end) station of the technique, so to speak. Look at the track that is
followed. Running like the two wheels of a carriage, you reach the terminal station."
- Quote from Hatsumi Sensei's video

Ugari
Origin: Shinden Fud Ry Dakentaijtsu Shizen Shigoku No Kata

Translation: Quail Clip

Technique: (U) kumi uchi, seoi nage (stepping to his right side)
Grab (U) left pectoral muscle with your right hand while stepping back with your left leg
As (U) throws pull him down with you and roll so that you are on top astride (U) chest
Apply hon jime using your body weight to reinforce the strangle

Comments: "Water birds, as everybody knows, have feet better suited to move freely through the water
than to walking on land, and that movement is truly elegant. Learn this footwork of the water
birds - that is what this technique Ugari tries to express."
- Quote from Hatsumi Sensei's video

Fukan
Origin: Shinden Fud Ry Dakentaijtsu Shizen Shigoku No Kata

Translation: No Posthumous Name

Technique: (U) kumi uchi, seoi nage


Drop your hips whilst pushing (U) hips forward with your left hand
Right upper cut (U) face
Grab (U) left loin then step in
Shoulder roll under (U), pulling (U) over the top of you

Comments: "Against the opponent's self-proud powerful throw, play upon his mind which believes it to
be so. Then wound the opponent's pride. Discovering here the psychology of combat is the
characteristic of this technique."
- Quote from Hatsumi Sensei's video

Shizen
Origin: Shinden Fud Ry Dakentaijtsu Shizen Shigoku No Kata

Translation: Nature

Technique:

1.
2.
3.

4.

(U) Double lapel grab and pull forward


Move forward, kikakuken (U) face, right tsuki (U) sternum
(U) kumi uchi, seoi nage
Drop your hips, right tsuki (U) stomach
Turn forty-five degrees clockwise and walk through (U)
(U) right tsuki
Step to the left side
Right arm encircles (U) neck and arm until unconscious
Walk away
(U) right keri
Turn clockwise and walk through the leg

Comments: "The life of mu (nothingness), the equivalent sounds of bu (warriorship) and mu that is mu
ishiki (the subconscious), the warrior consciousness: the way of life that seeks to perfect.
That is the realm of natural technique.
Nature is made up of moment-to-moment changes. It is very important not to lose one's way
in those momentary changes. Thus one must nurture courage through the warrior path. There
are the following words: "Startle not at the myriad changes in life." Nurture thus the courage
to be able to change naturally, without being frightened by change."
- Quote from Hatsumi Sensei's video

Fudozen
Origin: Shinden Fud Ry Dakentaijtsu Shizen Shigoku No Kata

Translation: Immovable Meditation

Technique: Mediation from Fudza No Kamae.

Comments: None

Jtaijutsu
Kamae
"There are kamae in Shinden Fud Ry Dakentaijutsu just as there are kamae in the Dakentaijutsu portion of its
training forms. Yet, in the Dakentaijutsu training these kamae are of the heart and mind rather than physical body
displays. They mirror their Jtaijutsu counterparts in how we prepare and then act to any situation that is presented
to us. For instance, one may feel hesitant toward an opponent. In the Jtaijutsu section of training perhaps we shift
into Seigan no Kamae thus preparing our body and mind for the encounter. On the other hand, in the Dakentaijutsu
training we rouse this same feeling of preparation, this it sense of caution, in our heart and mind all the while our
bodies do not move at all. The kamae for Shinden Fud Ry Jtaijutsu are listed below."

Katate Seigan no Kamae


Hira Ichimonji no Kamae
Seigan no Kamae
Shizen no Kamae
Za no Kamae

Katate Seigan No Kamae


Translation: One-Handed Taking the Eyes Posture

Kamae: (H) Lead hand is straight, fingers are pointing at eyes, rear hand is in boshiken at ear.
(F) Lead foot is straight ahead, rear foot is 45, backs of the heels are on the same line.

Comments: None

Hira Ichimonji No Kamae


Translation: Flat Straight Line Posture

Kamae: (H) Arms are out to the side shoulder height, palms facing forward.
(F) Stand shoulder-width apart.

Comments: None

Seigan No Kamae
Translation: Taking the Eyes Posture

Kamae: (H) Lead hand is straight, fingers are pointing at the heart, rear hand is in boshiken at ear, very close.
(F) Lead foot is straight ahead, rear foot is 45, backs of the heels are on the same line.

Comments: None

Shizen No Kamae
Translation: Natural Posture

Kamae: (H) Both hands are in fudken, palms are facing hips.
(F) Stand shoulder-width apart.

Comments: None

Za No Kamae/Fudza No Kamae
Translation: Seated Posture

Kamae: (H) Hands are on thighs, closed in fudoken.


(F) Step back with left, and sit on left leg, with right leg straight then, pull leg in.

Comments: None

Waza

Shoden No Kata (Lower Level Techniques)

Kata Mune Dori


Gyaku Kata Mune Dori
Ude Ori
Matsu Kaze
Ry Ko
Gedan Gake
Ude Ori
Ky In
Kimon Dori
Jinch Nage
Koromo Gaeshi
Saka Otoshi
Satani Nage
Katate Otoshi
Gyaku Nage
Gokuraku Otoshi

Kata Mune Dori


Origin: Shinden Fud Ry Jtaijutsu Shoden No Kata

Translation: Single Chest Capture

Technique: (U) and (T) in Za No Kamae


(U) Step forward with right foot, grabs with the right hand
Check (U) grabbing hand
Grab (U) hand in a two handed Ura Gyaku
Right kick (U) stomach
Push (U) right standing foot to the outside with your left leg
Fall to your back while doing Ura Gyaku, pushing (U) leg away
(U) falls onto stomach next to you
Go up to the right knee, (U) right hand in Ura Gyaku on floor
Hold (U) hand on floor, pull (U) elbow towards you. This is called te kubi

Comments: None

Gyaku Kata Mune Dori


Origin: Shinden Fud Ry Jtaijutsu Shoden No Kata

Translation: Reverse Single Chest Capture

Technique: (U) and (T) in Za No Kamae


(U) step forward with rt foot, grab with rt hand
Grab (U) hand in Ura Gyaku, kick (U) stomach
Fall to your back, pull (U) to stomach with Ura Gyaku
Come up on rt knee, pull (U) elbow with lt hand, pulling (U) onto back

Comments: None

Ude Ori
Origin: Shinden Fud Ry Jtaijutsu Shoden No Kata

Translation: Arm Break

Technique: (U) and (T) in Za No Kamae


(U) step with rt foot, grabs with rt hand
Come up on rt foot, grab (U) hand in Ura Gyaku with rt hand
With lt hand, hold (U) rt elbow, rt kick (U) stomach
Fall back with Ura Gyaku
Put rt hand under (U) lt shoulder, push (U) elbow down with rt elbow
Grab (U) lt hand in Take Ori with lt hand, push lt elbow into (U) neck

Comments: None

Matsu Kaze
Origin: Shinden Fud Ry Jtaijutsu Shoden No Kata

Translation: Pine Wind


Technique: (U) kumi uchi, (T) Shizen No Kamae
Lt shuto (U) hoshi, reach in and grab (U) waki
Rt hand pushes into (U) matsu kaze, then koshi nage

Comments: None

Ry Ko
Origin: Shinden Fud Ry Jtaijutsu Shoden No Kata

Translation: Dragon Tiger

Technique: (U) hon jime


Grab (U) lt elbow with rt hand, (U) rt shoulder with lt hand
Step in with rt foot to rt front, rt yoko nagare, dragging (U) with you

Comments: None

Gedan Gake
Origin: Shinden Fud Ry Jtaijutsu Shoden No Kata

Translation: Lower Level Hook

Technique: (U) lt Seigan No Kamae, (T) Shizen No Kamae


(U) tsuki
Step out to rt, lt jodan uke
Step in, rt kick (U) groin, at same time grab (U) rt hand in Ura Gyaku
Zenpo Ukemi with body on (U) arm

Comments: None

Ude Ori (2)


Origin: Shinden Fud Ry Jtaijutsu Shoden No Kata

Translation: Arm Break

Technique: (U) kumi uchi


Control (U) lt arm with rt hand
With lt hand, fake tsuki to (U) suigetsu, change direction and shikan ken to (U) jinchu
Musha dori to (U) lt, pivot lt
Push (U) down onto stomach, sit down with rt knee on (U) lt shoulder
Take (U) lt hand in Ura Gyaku, push bent elbow up to dislocate

Comments: None

Ky In
Origin: Shinden Fud Ry Jtaijutsu Shoden No Kata

Translation: Old Secret

Technique: (U) The same technique as ude ori


When you do the muso dori do a left kick to (U) left knee and go back down to the left
knee. The ending is the same

Comments: None

Kimon Dori
Origin: Shinden Fud Ry Jtaijutsu Shoden No Kata

Translation: Demon Gate Capture

Technique: (U) does ryote mune dori


Grab with both arms under (U) armpits with the thumbs pushing into both kimon
Go back and pull, turn to the left and go down to the left knee (this is a small turn to the left
so that you are standing with the right side towards (U)) to throw
(U) falls onto his back

Comments: None

Jinch Nage
Origin: Shinden Fud Ry Jtaijutsu Shoden No Kata

Translation: Man Center Throw

Technique: (U) Ryote mune dori


Grab with both arms under (U) armpits, thumbs pushing into (U) kimon
Step forward and to the lt with lt foot, kikaku ken to (U) head
Step behind (U) with the right leg, osoto nage. The hands are still grabbing both armpits

and kimon points


(U) falls onto his back

Comments: None

Koromo Gaeshi
Origin: Shinden Fud Ry Jtaijutsu Shoden No Kata

Translation: Garment Overturn

Technique: (U) Ryote mune dori


Step out to lt, into rt Ichimonji No Kamae
With lt hand thumb, grab (U) rt hoshi
Rt arm is under (U) rt arm, grabs under (U) lt armpit, lt thumb presses on (U) kimon
(U) pulls and takes two steps back, lt leg first
On last step, lt shako ken (U) face
Step behind (U) with rt foot, lt hand grabs (U) wrist, rt hand grabs (U) rt jakin
Koshi nage

Comments: None

Saka Otoshi
Origin: Shinden Fud Ry Jtaijutsu Shoden No Kata

Translation: Incline Drop

Technique: (U) Ryote mune dori


Kumi uchi. Step forward and lt with lt foot
Rt heel kick to (U) back of head
Rt shuki ken to (U) rt butsumetsu
Put rt arm under (U) rt arm, grabbing (U) back of shoulder
Hold (U) rt wrist with lt hand
Step behind (U) with rt foot
Go down to rt, throw (U)

Comments: None

Satani Nage

Origin: Shinden Fud Ry Jtaijutsu Shoden No Kata

Translation: Field Valley Throw

Technique: (U) rt grab


Check (U) hand, step back with lt foot
Grab (U) rt hand in Ura Gyaku, step back with rt foot
Kakato geri (U) rt knee, go to rt knee from the kick
Pull on (U) rt elbow with lt hand

Comments: None

Katate Otoshi
Origin: Shinden Fud Ry Jtaijutsu Shoden No Kata

Translation: One Hand Drop

Technique: (U) Ryote mune dori


Check (U) hand with lt hand, grab (U) lt wrist with rt hand from underneath
Take a step back with lt foot, come back in with lt, pivot clockwise
Uke's arms are now crossed on your left shoulder. Gyaku nage

Comments: None

Gyaku Nage
Origin: Shinden Fud Ry Jtaijutsu Shoden No Kata

Translation: Reverse Throw

Technique: (U) right grab


Check (U) hand with lt hand, grab (U) sleeve at elbow with rt hand
Step back with lt foot, pulling (U)
Rt shikan ken to (U) chin
Grab (U) rt shoulder with rt hand, step behind (U) with rt foot
Osoto nage

Comments: None

Gokuraku Otoshi
Origin: Shinden Fud Ry Jtaijutsu Shoden No Kata

Translation: Paradise Drop

Technique: (U) kumi uchi


Step back with rt, place palm under (U) elbow
Step forward with rt, hand rolls over (U) elbow, pushing slightly
(U) attempts to regain balance
Place lt hand on (U) rt, drop down to left knee

Comments: None

Chuden No Kata (Middle Level Techniques)


Fsetsu or F Un
Tama Otoshi
Ugo
Randori or Midari Dori
Tsuki no Wa
Koch Dori
Kasa Harai
Kaku Sei
Kasumi Gake
Ry Yoku
Utushi Dori

Fsetsu or F Un
Origin: Shinden Fud Ry Jtaijutsu Chuden No Kata

Translation: Snowstorm

Technique: (U) kumi uchi


lt hand grabs (U) obi, rt hand holds (U) lapel
Step back with rt leg, lt keri to (U) rt thigh or knee
Step down with rt leg, between (U) legs, drop to rt knee
Lift up on (U) obi, pull down on (U) lapel to throw

Comments: None

Tama Otoshi
Origin: Shinden Fud Ry Jtaijutsu Chuden No Kata

Translation: Spirit Drop

Technique: (U) kumi uchi


lt hand grabs (U) obi, rt hand holds (U) lapel
Step forward with rt leg, punch (U) kimon with rt hand
Step with lt leg in between (U) legs, drop to rt knee
Lift up on (U) obi and pull down on (U) lapel to throw

Comments: None

Ugo
Origin: Shinden Fud Ry Jtaijutsu Chuden No Kata

Translation: After Raining

Technique: (U) kumi uchi


Check (U) grabbing hand, step back with lt foot
Grab (U) rt hand in Ura Gyaku, step back with rt foot
Kakato geri to (U) rt knee, drop to rt knee from the kick
Pull on (U) rt elbow with lt hand

Comments: None

Randori or Midari Dori


Origin: Shinden Fud Ry Jtaijutsu Chuden No Kata

Translation: War Capture

Technique: (U) kumi uchi


Hold (U) hand
Rt leg steps to side with musha dori, lt hand oshu to (U) face
Grab (U) rt hand in Omote take ori
Throw (U) by turning to left and dropping to knee

Comments: None

Tsuki No Wa
Origin: Shinden Fud Ry Jtaijutsu Chuden No Kata

Translation: Ring Around the Moon

Technique: (U) kumi uchi


Kumi uchi, move into ganseki nage
(U) resists throw
turn into (U) while still locking (U) arm
Lt arm grabs (U) shoulder, step behind
Osoto gake with heel, or stomp on (U) leg

Comments: None

Koch Dori
Origin: Shinden Fud Ry Jtaijutsu Chuden No Kata

Translation: Small Butterfly Capture

Technique: (U) kumi uchi


Hold (U) hand, with rt arm begin ganseki nage
(U) resists throw
Use lt hand to twist (U) hand down and in, breaking (U) balance
Throw with harai goshi

Comments: None

Kasa Harai
Origin: Shinden Fud Ry Jtaijutsu Chuden No Kata

Translation: Straw Hat Sweep

Technique: (U) kumi uchi


Kumi uchi, step to rt and start gyaku
Catch (U) elbow with lt hand to lock (U) shoulder
Kakate geri to (U) rt thigh to take down
Use gyaku oni kudaki to pin (U)

Comments: None

Kaku Sei
Origin: Shinden Fud Ry Jtaijutsu Chuden No Kata

Translation: Crane's Voice

Technique: (U) seoi nage


Kumi uchi. Block seoi nage by lowering weight and using lt palm to slap (U) hip
Grab (U) obi with lt hand, boshiken to (U) shichibatsu
Slip rt hand higher, grab (U) collar
Drop with nagare, pull (U) to take down

Comments: None

Kasumi Gake
Origin: Shinden Fud Ry Jtaijutsu Chuden No Kata

Translation: Mist Hook

Technique: (U) seoi nage


Kumi uchi. Block seoi nage by lowering weight and using lt palm to slap (U) hip
Boshiken to (U) shichibatsu
Jump around to (U) front, shin ken to (U) chest
Note: (traditionally says koho kuten to rip chest muscle out)

Comments: None

Ry Yoku
Origin: Shinden Fud Ry Jtaijutsu Chuden No Kata

Translation: Both Wings Finger Throw

Technique: (U) kumi uchi, (T) in Shizen No Kamae


Grab (U) both shoulders into ryumon
Lower (U), then double tobi geri to (U) gorin using sokushi
Koho kaiten or koho kuten

Comments: None

Utushi Dori

Origin: Shinden Fud Ry Jtaijutsu Chuden No Kata

Translation: Repeating Bird

Technique: (U) seoi nage


Kumi uchi. Block seoi nage by lowering weight and using lt palm to slap (U) hip
Boshiken to (U) shichibatsu
Jump to (U) front, rt palm slap (U) gorin (jump and strike simultaneously)
Rt hand grabs (U) obi palm up, lt hand grabs (U) shoulder
Pull and push, stepping behind, yoko nagare

Comments: None

Okuden Gata (Upper Level Techniques)

Hyo F

Gsha Dori

Te Ate

Kari Shimo

Tatsu Maki

Furoya Nage

Yama Arashi

Bai Setsu

Hyo F
Origin: Shinden Fud Ry Jtaijutsu Okuden No Kata

Translation: Wind Sign

Technique: (T) hon jime


(U) counters by lifting (T) rt arm and attempts koshi nage

Comments: None

Gsha Dori
Origin: Shinden Fud Ry Jtaijutsu Okuden No Kata

Translation: Strong Person Attack

Technique: (U) hon jime


Step back, use chin to stop choke
Ryote shako ken to (U) ryumon
Jump up, do jime
Drop back to ground, block (U) heels, rt kakato geri into (U) suigetsu
Take (U) down on back, rt kakato geri to (U) suigetsu
Sit up, grab (U) butsumetsu, drop weight, dig knuckles into (U) butsumetsu
Kikaku ken

Comments: None

Te Ate
Origin: Shinden Fud Ry Jtaijutsu Okuden No Kata

Translation: Hand Attack

Technique: (U) double lapel grab


Hold (U) hand. Rt omote shuto (U) kasumi
Grab (U) rt wrist with rt hand while going under (U) both arms
Step back with lt, then step forward with lt
Pull (U) rt arm up, pivot to rt, putting (U) arm on lt shoulder
Gyaku zeoi

Comments: None

Kari Shimo
Origin: Shinden Fud Ry Jtaijutsu Okuden No Kata

Translation: Wild Goose Descent

Technique: (U) kumi uchi, (T) kumi uchi


Step back with lt leg, at same time push rt boshiken into (U) lt kimon
Press lt into (U) rt nagare
Apply musha dori with lt arm, keeping pressure on (U) kimon
Osoto gake

Comments:

Tatsu Maki
Origin: Shinden Fud Ry Jtaijutsu Okuden No Kata

Translation: Tornado
Lit. "Dragon Roll"

Technique: (U) gyaku jime


Lower body, step in with rt leg, apply ryote shako ken to (U) triceps, lifting (U) up
Lt hand slides down to (U) nagare, rt hand grabs (U) hoshi uchi
Step in with rt, throw (U) over rt thigh

Comments: None

Furoya Nage
Origin: Shinden Fud Ry Jtaijutsu Okuden No Kata

Translation: Public Bath Throw

Technique: (U) tsuki

Comments: None

Yama Arashi
Origin: Shinden Fud Ry Jtaijutsu Okuden No Kata

Translation: Mountain Storm

Technique: (U) daijodan shomen giri


From Shizen No Kamae, step in going down to lt knee
Rt shikan ken to (U) suigetsu

Comments: None

Bai Setsu
Origin: Shinden Fud Ry Jtaijutsu Okuden No Kata

Translation: Plum Snow

Technique: (U) double lapel grab

Comments: None

Biken
The Shinden Fud Ry sword is slightly larger than the Kukishinden Ry sword. When drawing, pay special
attention to the use of the body and spine to unsheathe the sword, rather than just using the arm and shoulder.
The strike doesn't come with the hands or arms. Let the sword's weight do the cut for you.
"When you draw your sword in Shinden Fud Ry, you do so as if moving into Ichi No Kamae try not to twist
your body too much.
"When you draw, you are not drawing to 'cut'. You are drawing to 'plunge'."
Quote from Hatsumi Sensei
"The trick to using your sword effectively is to minimize the extent to which you move the blade. Don't go swinging
it around more than necessary or you will open yourself to an attack."
Quote from Hatsumi Sensei
"The trouble with most students of sword is they try to form their kamae using only their wrists. You must start your
kamae from your elbow, then your shoulder, then your body. In this way, you will learn the proper way of kamae."
Quote from Hatsumi Sensei
"When you wear your sword, you want to make sure it is pointing out in front of you like this. Don't let it droop.
This is wrong. Pull it out of your obi a little so it stays in balance. Then when you want to draw it, make sure to push
your scabbard back with your left hand as you draw Then when resheathing, pull your scabbard forward again
till it snaps into place."
Quote from Hatsumi Sensei

Iaijutsu
There are three Iai draws in Shinden Fud Ry:
1.
2.
3.

Normal Iai draw


Tachi otoshi - Sword tight to body, draw straight up
Sagi age - Sword pointing down, Chi No Kata feeling to the draw. Push sword and saya back, drawing the
sword down as you step back.

4.

Happo Kuji Ni
"Hatsumi also does the following cuts and calls it 'Happo Kuji Ni':

Jodan Kiri

Left Kesa Giri

Right Kesa Giri

Left Do Kiri

Right Do Kiri

Left Gyaku Kesa Giri

Right Gyaku Kesa Giri

And finishes up with a right hand katate age kiri from the left side, straight up.
Then he says 'Shinden Fud Ry'." 5

Kamae

Seigan no Kamae
Daijdan no Kamae
Engetsu no Kamae
Wangetsu no Kamae
Rysei no Kamae

Seigan No Kamae
Translation: Taking the Eyes Posture

Kamae: When in kamae such as Seigan, because the sword is so heavy, make a fist and place it on
top of the tsuka, instead of using the rear hand to grip. Place the butt end of the tsuka in the
front of your hip for added control. To bring the sword up to cut, simply push down with
your arm and fist onto the tsuka.

Comments: "When doing Seigan No Kamae with a Shinden Fud Ry sword, please keep your elbow in
tight against your body. This will help keep you from tiring out from its weight."
- Quote from Hatsumi Sensei's video

Daijdan No Kamae
Translation: Upper Level Posture

Kamae: In kamae such as Daijdan, put the hand on the bottom of the tsuka (which in this case is
facing up in the air). To cut, push on the bottom of the tsuka (similar to Seigan).

Comments: None

Engetsu No Kamae
Translation: Crescent Moon Posture

Kamae: Similar to Wangetsu No Kamae, but this is a moving kamae. Keep the hands in the same
place, slowly move the sword around in a circle (clockwise). This gives the opponent an
opening (kyojitsu).

Comments: None

Wangetsu No Kamae
Translation: Crescent Posture

Kamae: Similar to Tenchi No Kamae, but the blade of the sword faces to the right.

Comments: None

Rysei No Kamae
Translation: Falling Star/Meteor Posture

Kamae: From Wangetsu No Kamae, stand with one leg forward and the blade resting on either the
shoulder, or the upper section of the arm. You can have either leg forward with the blade
resting on the corresponding arm/shoulder.

Comments: "In Rysei, you must rest your sword on your arm like this Do not point your sword
directly at them.
You should be able to hold it quite comfortably with either arm. This is helpful when your
sword is heavy.
If you can hold it with only one arm like this, your other hand is free. You can draw your
shoto here, for example, if another opponent were to come, throwing it at them like this.
Start with your sword in Seigan, then move to Rysei. Your tip can be pointing straight at
them at first, but then move it to the side so as to entice them to attack you."
Quote from Hatsumi Sensei

TAKAGI YOSHIN RYU


JUTAIJUTSU

TAKAGI YOSHI RYU


JUTAIJUTSU
SHODEN NO KATA
1. KASUMI DORI
2. DO GAESHI
3. KARAME DORI
4. KYOTO
5. KATAMUNE DORI
6. KATAMUNE DORI HENKA
7. RYOMUNE DORI
8. OIKAGE DORI
9. KAIGO KUDAKI
10. KAIGO KUDAKI HENKA
11. IKI CHIGAE
12. YUI GYAKU
13. MIDARI GACHI (RAN SHO)
14. TENNAGACHI
15. HIZA GURUMA
16. HIZA GURUMA HENKA
SHODEN NO KATA
(URA WAZA)
1. ATE KOMI
2. GYAKU DORI
3. MENBU
4. GYAKU DORI
5. RYO ASHI DORI
7. KE KOMI
8. KATA MUNE DORI
9. RYO MUNE DORI
10. RYO ASHI DORI
11. TENGO DORI
12. KAIGO KUDAKI
13. HIKI TAOSHI
14. TSUKI TAOSHI
15. UDE ORI
16. HIKI KOMI
17. NAGASHI
18. KE KOMI
19. UDE ORI
20. ERI JIME
CHUDEN NO SABAKI GATA
1. KATAMUNE DORI

2. RYOMUNE DORI
3. ONI KUDAKI
4. SEIOIGAMA
5. KOSSHINAGE GAMA
6. UDE ORI
7. GYAKU TE NAGE
8. KIMON NAGE
9. ATE NAGE
10. KOCHO DORI
CHUDEN NO TAI NO KATA
1. KOSHI GURUMA
2. YOTSUDE
3. YOTSUDE KUZUSHI
4. KEI TOU
5. KOSHI ORI
6. KOSHI NAGARE
7. KUMOI GAESHI
8. RYOTE KAKE
9. MIZU NAGARE
10. RYUSETSU
11. EICHIGO KUZUSHI
12. KASASAGI
13. HYO TSUI
14. TSUTA KARAME
15. TATSU OTOSHI
OKUDEN NO KATA
1. BAIDO
2. KURUMA GAESHI
3. TEN GAESHI
4. NAGARE DORI
5. YAMA OTOSHI
6. KURA ARASHI
7. SODE GURAMA
8. RYOTE KAKE
9. TANSAI
10. SUE OTOSHI
11. TAI KUDAKI
12. SOFU
13. GYAKU DORI
14. RAMPU
15. FUSETSU
ERI SHIME GATA

1. HON JIME
2. GYAKU JIME
3. UDE JIME
4. ITTEKI JIME
5. ITAMI JIME
6. OSHI JIME / OSAE JIME
7. GYAKU OSHI JIME / GYAKU OSAE JIME
8. SUWARI JIME
MOGURI GATA
1. GAKURAKU OTOSHI
2. JIGOKU DORI
3. TAMA KUDAKI
4. HICHO DORI
5. ONI BUSE 6. INAZUME NAGE
7. MIZU DORI
8. KISETSU
9. TAI OTOSHI
10. MOGURI DORI
11. MOGURI NAGE

SHODEN NO KATA
1. KASUMI DORI
Uke, and Tori are in Seiza. Uke steps up with the right foot, and grabs Ukes collar with
the right hand (Kiai). Tori comes up his right foot, and strikes Uke with a right Ura Shuto
4

to Kasumi. Toris right hand comes back and grabs Ukes right hand in Ura Gyaku, and at
the same time comes up into a standing position. When stood Tori changes the Ura Gyaku
to Hon Gyaku, and a right Keri to Butsumetsu. From this Tori comes down to the right
knee, bringing Uke down to O-Gyaku.
2. DO GAESHI
Uke and Tori, are both in seiza. Uke comes up on the right foot, with a Jodan Tsuki
(Kiai). Tori comes up on his left foot forwards, and takes Ukes right wrist in a open
handed right grab. Tori then steps forward with the with the left foot, so his knee presses
Ukes right knee. The left hand comes over the top of Ukes right arm to grab the left side
of Ukes collar, and Shime waza. Tori pulls the left hand back, pulling Uke on to his back.
Tori then barrs the back of Ukes right elbow onto his left knee, and pulling the right hand,
and pulling the left collar grab bring Uke over on to his stomach. O-Gyaku
3. KARAME DORI
Tori is in Seiza. Uke walks towards Tori, and does a right Zenpo keri. Tori steps up[ to
the left with the left foot, and does a right Gedan Uke, and holds Ukes leg up off the
ground. Tori turns to the right, and the left hand goes under Ukes leg, to grab the put.
Tori pulls his left hand back, turning Uke over. At the same time Tori stands. Uke is now
on the ground on his front. Tori strikes a Shuto into the calf of the leg he holds.
4. KYOTO
TRNT P. 125
Uke walks towards Tori and does a right Gedan Tsuki. Tori is in Seiza., and steps up to
the left, and grabs the wrist with the right hand, turns to the right, and the left hand goes
to the elbow. Toris left hand then moves to the shoulder. Tori then presses down on the
shoulder, and pulls the wrist, bringing Uke to the ground. Lock with O-Gyaku
5. KATAMUNE DORI
Uke grabs Toris left collar with the right hand. Tori checks the hand in Takagi Style. tori
steps forward with the right foot, and a right Ura Shuto to Kasumi. The right hand the
grabs Ukes right hand in Ura Gyaku, and pulls the hand free (Takagi Style). Tori then
does a right keri to Koe, and changes the grip to Hon Gyaku with both hands. Toris right
hand then grabs Ukes right shoulder, and the right foot, kicks the back of Ukes right knee,
knocking Ukes down forwards O-Gyaku.
6. KATAMUNE DORI HENKA
Uke does Ryote Mune Dori. Toris right hand comes over the top of the arms, and grabs
the right hand, and locking the left elbow with his elbow. Tori steps back with the left leg,
releasing Ukes right hand with a snapping motion. With the right foot Tori kicks Uke in
the front Butsumetsu. Tori then drops the right foot, and down to the right knee. The drop
in body weight, brings Uke down. Pin Uke to the ground.

7. RYOMUNE DORI
Uke does Ryote Mune Dori. Tori does Shikan Ken to the backs of Ukes hands. By turning
the left. Tori strikes vertical to Asagasumi with a right Shikan Ken. Tori left hand grab
Ukes right hand and applies pressure to the thumb Kyusho (from underneath). Toris right
hand goes to Ukes right shoulder, and a right keri to Ukes right kaku. Tori then steps
back, and down with the right knee. to O-Gyaku.
8. OIKAGE DORI
Tori is behind Uke. They walk in the same direction. Tori lets out a Kiai. Uke turns to face
him (turn right). with the right foot forward, Tori does a right Ura Shuto to Kasumi. The
right hand the drops to the rear of Uke, and up again under the arm. Toris right foot, is
placed behind Ukes right foot, and is swept back. Tori places his Knee on Ukes chest.
9. KAIGO KUDAKI
Uke grabs Tori from behind in a bear hug. Tori shoves his hips back into Ukes groin, and
a ryote Shuki to Butsumetsu, to break the grip. Tori catches the right wrist with the left
hand, and the right shoulder joint with the right hand. Tori drops his weight on to Ukes
knee, and throws with Seionage.
10. KAIGO KUDAKI HENKA
Uke grabs Tori in a bear Hug. Tori bends the body backward to break Ukes balance, then
forwards slamming the hips back, and the arms down to Ukes hips. Tori side steps, and
brings the arm up to Ganseki, and throws with either Ganseki Nage, or Ganseki Otoshi.
11. IKI CHIGAE
Uke and Tori walk towards each other on their right sides, As the pass, Tori takes hold of
Ukes right hand with his right hand, but does not grip it. He continues with the right foot,
and lifts the right hand in the air. Tori then steps back with the right foot, and turns to the
right, bring the right hand back and up to his right. Tori either strikes with a left Shuki to
Butsumetsu, or with a left Fudo Ken to Asagasumi. Tori then turns to the left and steps
forward with the right foot, placing it behind Ukes right foot. The right hand is brought
forward, and pulled, so that Uke falls over backwards.
12. YUI GYAKU
Uke does a right Ura Shuto to Toris Kasumi. Tori steps back to the right, and doe a left
Jodan Uke. Tori then steps forward with the right foot, and strikes with Fudo Ken to
Asagasumi. The right leg is then hooked behind Ukes right eg, and knocks him off
balance. Tori then throws Uke with Seio Nage.
13. MIDARE GACHI (RAN SHO)

Uke does a right Jodan Tsuki. Tori steps back on the right, and a left Jodan, and grabs the
wrist after the Uke. With his right foot, tori steps on Ukes right foot, and applies a
Hijigyaku (arm lock). Tori then Turns to the left and throws with Seio Nage, or Gyaku
Nage.
NOTE
For the arm lock. Pull the wrist down, and bring the elbow to the body.
14. TENNAGACHI
Uke does a right Gedan Tsuki. Tori steps back with the left foot, and strikes down with
the right hand, and catches the right hand with the right hand, in a Ura Gyaku grip. Tori
steps forward with the right foot, then back with the right foot, applying Ura Gyaku as he
steps in, and out. Tori then steps back with the left foot, and applies Ura Gyaku Henka,
and steps back with the right foot, and down to the right knee, at the same time Ura
Gyaku is applied. Finish with Ude Jime.
15. HIZA GURUMA
Tori is in Seiza. Uke walks towards him and kicks with a right keri. Tori steps out to the
left, with a right Gedan Uke. Tori drops to the left knee, and bring the right hand to Ukes
right hand, and takes hold of it in Omote Gyaku grip. Tori brings the left hand to his right
hand, and then brings them over his head, with Omote Gyaku. Tori moves forward on the
knees, and takes Uke down with the Omote Gyaku.
16. HIZA GURUMA HENKA
Tori is in Seiza, and Uke walks towards him and kicks with the right foot. Tori steps to
the left, and strikes down with the right hand, and then catches Ukes right wrist with his
right hand. Tori then stands so he is next to Uke, and takes hold of Ukes right shoulder,
with his left hand. Tori stretches Ukes right arm, and sits on the right leg to press Uke
down. Tori then twists, pulling on the right arm, and presses on the left knee, knocking
Uke to the ground

SHODEN NO KATA
(URA WAZA)
1. ATE KOMI
Both are in Fudoza. Uke grabs the lapel with the right hand, and attempts a punch. Tori
covers the grab with the right hand, and before the punch can come in strikes with a left
Ura Shuto to Ukes face (come up on the left foot as you strike). Tori then does Omote
Gyaku to Ukes grabbing hand, and turns anti-clockwise. Lock Uke when he is on the
ground.

2. GYAKU DORI (Suno Ichi)


Both are in Fudoza. Uke grabs with the right hand, and attempts a punch. Tori covers
with the right hand, and coming up on the left foot, does a left Ura Shuto to Ukes face.
Tori places Ukes hand in Ura Gyaku, and finishes kneeling on Ukes arm.
3. MENBU (Suno Ichi)
Both are in Fudoza. Ukes does a right Stomach punch. Tori does a gedan Uke, and then
grabs Ukes right hand at the wrist with the right hand. Tori rises up on the outside of
Ukes arm and strikes with a left Ura Shuto to Ukes face. Tori then places the left hand on
the outside of Ukes elbow, and walks in a circle in a clockwise direction taking Uke to the
floor.
4. GYAKU DORI (Suno Ichi)
Both are in Fudoza. Uke does a right Jodan Tsuki. Tori drops his balance to the right, and
places the right hand on the ground for support, and takes hold of the inside of Ukes wrist
with the left hand. Tori comes back to the left, and strikes with a right Shako Ken to the
face, and sweeps Ukes right leg away with the right leg, knocking Uke onto his back.
5. RYO ASHI DORI (Suno Ichi)
Tori is in Fudoza, Uke is in Shizen. Uke does a right Zenpo Keri. Tori moves to the left
with a right Gedan Uke. Tori grabs the foot, and twists it inwards, and then changes
hands. Tori then strikes downwards with a right Omote Shuto to the calf. This drops Uke.
When he is down fold Ukes legs up, with the soles against the backside. Tori wraps his
right leg around the legs, and leans forward to cause pain.
NOTE
The right leg is between Ukes calves, and his backside.

6. MENBU (Suno Ni)


Tori is in Fudoza, Uke is in Shizen. Uke does a right Zenpo Keri. Tori moves to the left,
and a right Gedan Uke. Uke then does a right Tsuki. Tori does a left Jodan Uke, and as he
rises he rotates Ukes right arm downwards, and brings Ukes leg over the arm. Tori then
punches Uke in the face.
7. KE KOMI (Suno Ichi)
Both in Seigan. Uke does a right Tsuki. Tori does a right Jodan Uke, and grabs the wrist
with the right hand. Tori then kicks Uke in Butsumetsu with the right foot, and with the

left hand pushes down on Ukes right elbow, at the same time stepping back with the right
foot from the kick.
8. KATA MUNE DORI
Uke grabs the lapel with the left hand, and a right Tsuki. Tori covers the hand in Takagi
style, and moves forward 45 degrees to the right. Tori then does a left Ura Shuto to
Kasumi, and a left kick to the solar plexus.
9. RYO MUNA DORI
Uke does Ryo mune dori. Tori does a Ryote Fudo ken to the backs of the hands. Tori then
strikes with a left Shako ken to the face, while at the same time he applies a Omote Take
Ori, or Omote Gyaku with the right hand. Tori the turns clockwise to take Uke down.
10. RYO ASHI DORI (Suno Ni)
As Uke walks in front of Tori (as in Oikage Dori from Shoden no Kata), Tori makes a
grab for both of the legs. Uke turns to see what is happening. Tori places the left hand in
front of Ukes legs and the right to the rear. Tori then pulls Uke to the ground, so that he
ends up on Ukes knees.
NOTE
To bring Uke down you can use Yoko Nagare
11. TENGU DORI
Uke walks in front of you (you walk in the same direction). Tori creeps up behind Uke,
and strikes with a Ryote Happa Ken the strikes with a Ken to the middle of the back
NOTE
For the ken use any of the following. Fudo, Happa, Boshi, Shuto Nio etc.

12. KAIGO KUDAKI


Uke walks up behind Tori and attempts a full nelson. Tori drops his weight, and brings the
elbows in. Tori then peels off both arms, and does Ganseki Nage.
13. HIKI TAOSHI
As Uke walks towards Tori. Tori takes hold of the right hand with the left hand, and does
Seio Nage. Before the throw Tori strikes with a back fist to the face.
14. TSUKI TAOSHI

Both in Seigan. Uke strikes with a right Tsuki. Tori does a left Jodan Uke, and steps in,
and does a right Shako ken to the face, as if doing a Tsuki.
15. UDE ORI (Suno Ichi)
Both are in Seigan. Uke does a right Jodan Tsuki. Tori does a left Jodan Uke, and grabs
the wrist with the left hand. Tori steps in with the right foot, and strikes with a right Shako
ken to the face. Tori then takes his right arm over Ukes right arm, and grabs his own wrist
to lock the elbow. Tori then steps behind, and Osoto Nage, still holding the arm
16. HIKI KOMI
Both are in Seigan. UKe strikes with a right Jodan Tsuki. Tori does a right Osoto Jodan
Uke, and grabbing Ukes right with the left hand. Tori continues his movement (from the
Uke), and takes Uke with the flow, as he moves into Ihen, moving Uke to the ground with
the flow.
17. NAGASHI
Both are in Seigan. Uke strikes with a right Jodan Tsuki. Tori does a right Osoto Jodan
Uke, and grabs the wrist at the same time as stepping in and striking with a left Shako ken
to Ukes right elbow. Tori then twists clockwise making sure that your left leg is behind
Ukes right knee.
18. KE KOMI (Suno Ni)
Both are in Seigan. Uke attacks with a right Jodan Tsuki. Tori does a left Jodan Uke, and
takes hold of the wrist. Tori then kick Uke in the throat, and steps back from the kick,
dragging Uke down.

19. UDE ORI (Suno Ni)


Both are in Seigan. Uke does a right Jodan Tsuki. Tori does a right Osoto Jodan Uke, and
grabs the wrist. Tori steps in and moves his left arm over the top of Ukes right arm, and
grabs his own right wrist to bar Ukes arm. Tori drops to the left knee to throw Uke.
20. ERI JIME
Both are in Seigan. Uke does a right Jodan Tsuki. Tori does a right Osoto Jodan Uke, and
grabs the wrist. Tori steps in and grabs the back of Ukes elbow with the left hand, and
twist clockwise to throw Ukes face down. Tori then puts the right knee into the back of
Ukes right elbow, and strangle Uke with the left hand by grabbing Ukes right lapel, and
pulling the lapel across his throat. Keep the left knee on the spine to aid the strangle.

10

CHUDEN NO SABAKI GATA


1. KATAMUNE DORI
Uke grabs the right collar. Tori checks with the left hand, and steps forward with the right
foot, and strikes with a right ura Shuto to Ukes Kasumi. Toris right hand then goes down
to Ukes right wrist, and turns it over to Ura Gyaku, the left hand goes to the elbow, as
Ukes hand passes in front of the face. Tori then kick with the right foot to the groin, and
bringing the right foot, back, and turning clockwise, so that Uke spins to the ground.
2. RYOMUNE DORI
Uke grabs both Mune. Tori covers Ukes hands, and kicks with the right shin to Suzu. Tori
then applies a armlock (omote - Ura Gyaku, Muso Dori etc) to take Uke down, and
secure him.

11

3. ONI KUDAKI
Uke strikes with a right Shikan Ken. Tori is in Shizen, and steps back to the right, and a
left Jodan Uke. The left hand stays with Ukes right hand. Tori steps in with the right foot,
and applies Oni Kudaki to Ukes right arm. Tori right foot, goes behind Ukes right foot.
Tori applies the Oni Kudaki.
4. SEIOIGAMA
Uke punches with the right hand. Tori steps to the right, and does a left Jodan Uke. Tori
shifts to the left, and places the right arm under Ukes arm, grabbing his own wrist (similar
to Oni Kudaki). Tori steps with the right foot, between Ukes legs, and turns to throw with
Seio Nage.
5. KOSSHINAGE GAMA
Uke grabs with the left hand the Mune, and a Jodan Tsuki with the right hand. Tori covers
this with the right hand, and moves to the right to block with a left Jodan Uke. Tori shifts
to the left, and puts his right arm under Ukes arm, at Nagare. Tori secures Ukes left hand
to the chest, with the left hand, and steps between Ukes legs, with the right foot, while
pushing up on the elbow, and holding the hand in place (the scrolls says :- Tsuki Agaeru,
thrust upwards with the right hand breaking the elbow). Then Tori uses Kosshi Nage to
throw Uke forwards.
6. UDE ORI
Both Uke, and Tori are in Fudoza. Uke grabs Toris lapel with the left hand. Uke goes up
on the right knee, and punches with a right Tsuki. Tori grabs Ukes arm, and leans back,
using the right knee to apply pressure to the back of Ukes straightened left elbow. Tori
rolls to the left, and continues with the pressure to the elbow.
7. GYAKU TE NAGE
Uke steps forward with the right foot, and grabs the collar with the right hand. Toris left
hand grabs the underneath of Ukes hand, and twists it so that the palm is on the outside,
and then lifts it to shoulder height. Tori steps in with the right foot, and grabs just above
the Butsumetsu.. Ukes arm is held high. Tori steps with the right foot, to the rear of Ukes
right foot, and does Ashi Barai, at the same time Tori drops the arm to throw Uke.
8. KIMON NAGE
Uke does Ryomune dori. Tori steps in with the right foot, and grabs with both of his
hands Ukes jacket at his chest, and then strikes with Boshi Ken. Tori then straight away
grabs the jacket, and pulls Uke to him so that he can strike with Kikaku ken. Tori then
pivots to the left until he has his back against Ukes. Tori then drops to his right knee, and
throws Uke over his shoulder.
9. ATE NAGE (Place the throw)

12

Uke grabs Toris lapel with the left hand. Tori take hold of the hand with his right hand in
Gyaku Te Take Ori, and strikes with a left Fudo Ken to Butsumetsu, striking under the
arm. Tori turns to the right going under Ukes left arm, and grabs Ukes left shoulder with
the left hand. Tori then kicks Ukes supporting leg out, and throws him.
10. KOCHO DORI (Catching a Butterfly)
Uke does a left grab. Tori then grabs Ukes left elbow with the right hand from underneath,
and the left from above. Tori steps forward to his right, and turns so that he is stood to the
side of Uke. Tori moves the elbow up then down so that Uke is bent over forwards. Tori
then turns to the left, and goes down on the right knee, putting Ukes elbow over his right
shoulder, and throws Uke, onto his back.
NOTE
When they are stood next to each other, Toris right shoulder is next to Ukes left shoulder.
The final throw is dangerous, take great care.

CHUDEN NO TAI NO KATA


1. KOSHI GURUMA (Hip vehicle)
In the scrolls this is described as a standing technique, and is written as such.
The opponent grabs the front of the belt with his left hand, and the back of it with the right
hand, and attempts to throw you with a hip throw. You grab the back of the opponents
belt with the left hand, strike his face with your right hand, move forward, and collapse in
front of him, using your right hand to push his left leg (shin) up and fall over in a whir.
2. YOTSUDE
Uke and Tori stand in a form of Kumi Uchi, but with the left hand holding the Obi, and the
right on the Mune. Uke pulls, and does three steps back with the left foot. Tori follows
with three steps with the right in front. . On the third steps he slides his left leg between
Ukes legs, and places the right on the hip for Tomoe Nage.
3. YOTSUDE KUZUSHI

13

Uke does Ryote Mune dori. Tori grabs Ukes belt with the left hand, and the left shoulder
with the right hand. tori steps back with the left foot, and pushes Uke back in with his left
foot. Uke does a right step back. Tori falls on his back left leg doing Tomoe Nage.
4. KEI TOU
Uke stands behind Tori, and grabs his collar with the right hand. Tori grabs Ukes hand
with his right hand, and turns to the left, striking with a left Shikan ken to Men. Uke now
pulls and takes three steps back with the left foot. Tori follows with the three steps. On
the third step stepping to the left,, Tori takes the grabbing hand over his head, with his left
hand, and strikes with the right with shikan ken to Suigetsu. Tori pulls Ukes right
shoulder, and drops back with Tomoe Nage.
NOTE
When bringing the hand over the head switch hands
5. KOSHI ORI
Uke, and Tori are in Kumi Uchi, Tori has his left hand on the Obi. Uke comes in and tries
to do a Kosshi Nage (with the right hip). Tori puts his right foot in between Ukes legs,
and strikes with a right Shikan ken to Suigetsu. Tori then grabs Ukes belt at the back with
the left hand, and does a Yoko Tomoe nage. Tori then drops down the left leg between
Ukes legs.

6. KOSHI NAGARE
Uke does Ryomune dori. Tori grabs both of Ukes shoulders from above, and does a Yoko
Nagare. Uke lands on his back next to Tori.
7. KUMOI GAESHI
Uke does Ryote Mune Dori. Tori grabs Uke in Hon Jime (over the top of Ukes arms), and
then drops back with Tomoe Nage.
8. RYOTE KAKE (Two hand trap)
Uke does Ryote Mune dori. Tori drops his hips, and steps back with the left foot, and at
the same time pushes up on the underneath of Ukes elbows.. Tori suddenly pivots to the
right, going down on the right knee, and pulling down on Ukes left elbow, and pushing up
with the right. This flips Uke on to their back
NOTE
The final movement to the right, must all be done together to make it work.
9. MIZU NAGARE (Flowing water)

14

Uke does Ryomune Dori. Tori grabs both of Ukes shoulders, and steps in with the left
foot. Tori pushes with the left hand, and pulls with the right hand, tilting Ukes Torso. Tori
steps to the outside of Uke with the right foot, and does a Nagare, throwing Uke to his
right.
10. RYUSETSU
Uke grabs both Mune. Tori grabs one shoulder, and the opposite Butsumetsu. Tori pulls
the Butsumetsu, and pushes the shoulder to off balance Uke. Tori then throws with
Tomoe nage.
11. EICHIGO KUZUSHI
Uke grabs Tori with Ryote mune dori. Tori takes hold of the elbows from underneath, and
presses the thumbs into the Kyusho, above Hoshi. Pulling the elbows out, Tori strikes
with Kikaku Ken to Men or the chest. Tori the walks between Ukes legs, dropping to the
ground, pulling Uke over the top of him.
NOTE
Before pulling Uke, trap his hand against your chest, with your forearms. By doing this
Uke will not be abole to do a Kaiten, or Ukemi, and will land on his face.

12. KASASAGI (Magpie)


Uke does a right Jodan Tsuki. Tori shifts to the left, and a right Jodan Uke, to the outside
of the strike. Tori takes hold of the wrist. Uke then does a right kick, and to counter this
Tori pulls the right hand down. Tori then quickly does a right keri kaeshi to the outside of
Ukes right thigh / calf. Tori then strikes with a left Shikan Ken to Butsumetsu. To do this
Tori lifts Ukes right arm, and then Tori passes under the right arm, and does a
exaggerated Omote Gyaku to drop Uke to the ground.
13. HYO TSUI
Uke grabs with Ryote Mune dori. Tori brings his hand up to the shoulder, on the inside of
Ukes arms, and grabs the flesh. Tori then steps with the left foot, between Ukes legs, and
drops to the ground, with Tachi Nagare. Tori follows Uke over with the roll, and sitting
astride him, applies a Hon Jime.
14. TSUTA KARAME
Uke does Romune Dori. Tori applies a Gyaku Osae Jime to Ukes shoulder muscles (up).
Tori goes in and under for a Tomoe Nage. Tori flows with the Nage, and finishes astride
Uke, finishing with a Shime.
NOTE
Keep the Shime on while doing the Nage.

15

15. TATSU OTOSHI


Uke does Ryomune Dori. Tori applies a Gyaku Osae Jime. Tori then steps forward, and
slides through Ukes legs to throw with a Tachi Nage. Tori follows Uke over and applies a
Shime.
NOTE
Keep the Shime on at all times.

OKUDEN NO KATA
1. BAIDO
Uke does Ryote Mune dori (grab the pressure points in the neck. Tori attempts to do a
Omote Gyaku. Uke counters this by stepping to the opposite side of the lock. Uke then
strikes Tori in the neck with the thumb to unbalance him. Uke drops onto one knee same
as as the Omote Gyaku), and using his body weight brings Tori down with him.
2. KURUMA GAESHI
Uke, and Tori are in Kumi Uchi. Tori steps forward with the left foot, and strikes with the
right palm up into Ukes chin, then grabs the collar. Tori places his right foot into Ukes hip
for a Tomoe Nage.
3. TEN GAESHI
Uke, and Tori stand in Kumi uchi. tori takes a step back to unbalance Uke, and kicks with
his right foot to Ukes right knee. tori then comes in to throw with a Kosshi Nage, but
kicks Ukes left knee out with the right foot (Uchi Mata)
4. NAGARE DORI
Uke, and Tori are in Kumi Uchi. Tori does a right Boshi Ken to Ukes right Uko to push
him off balance (step to the right when you do this). Tori then comes back in with the riht
leg, and pushes Ukes left elbow straight up with his right hand (to put off balance again),
16

and Tori then does a kosshi Nage in the same direction as Uke is off balanced, and walks
in this direction also. uke falls onto his back.
5. YAMA OTOSHI (Mountain drop)
Uke, and Tori are in Kumi Uchi. Toir does a Left Omote Gyaku, to Ukes right hand, and
at the same time strikes with the right hand into Ukes neck with a Boshi Ken. Tori then
places his right arm over ukes right arm (as in Oni Kudaki), and Tori grabs his own Jacket.
Tori then applies the Omote Gyaku, and Uke falls onto his back. Tori then falls with Uke,
onto his back ontop of of Uke, and does a Koho kaiten to break Ukes arm. the hand is still
in Omote Gyaku, and the arm lock is still on (oni Kudaki)
NOTE
In training release the hands, and arm, so as not to break them. Great care is needed.
6. KURA ARASHI ( ?? storm)
Uke, and Tori are in Kumi Uchi. Tori steps back with the right foot to put Uke off
balance, and comes back in with a Musha Dori to Ukes left arm. Tori clasps the hands
together, and goes back, and down to hid right knee. Uke will fall on his back.
7. SODE GURAMA (Sleeve ??)
Uke, and Tori are in Kumi Uchi. Tori checks Ukes right hand with his left hand, and grabs
it in Omote Gyaku (step back with the left foot). Tori thenstrikes with a right Boshi Ken
to Ukes left Uko, and then grabs the shoulder Tori steps with the right foot, behind Ukes
right foot, and does Osoto Gake (pull with the Omote Gyaku, and the shoulder).
8. RYOTE KAKE (Two hand trap)
TRNT P. 169
Uke does a double hand choke to Toris neck. Tori drops his hips, and steps back with the
left foot, and pushes up on the underside of Ukes elbows. Tori then suddenly pivots to the
right dropping to the right knee, and pushes up with the left hand, and pulls down with the
right hand. This flips Ukes onto his back.
NOTE
All these movements are done in one movement.
9. TANSAI
Uke, and Tori are in Kumi Uchi. Tori steps back to the right, and does a Musha Dori to
Ukes left arm. Tori is now standing next to Uke. Tori strikes with a left Boshi ken to Ukes
throat, and then clasps the hands together, and goes back, and down to his right knee.
Ukes falls onto his back.
10. SUE OTOSHI

17

Uke, and Tori are in Kumi Uchi. Tori steps back with the left foot, and does Muso Dori to
Ukes right arm. Tori then steps back in with the left foot, and grabs Ukes right shoulder
with the right hand, and steps back and down to his right, pulling Uke onto his stomach.
Tori now goes down with him on his back. the arm is locked, and Tori then does a Koho
Kaiten to break the arm.
11. TAI KUDAKI (Destroy the body)
Uke and Tori are in Kumi Uchi. Tori steps back with the left foot, and does a Muso Dori
to Ukes right arm. He then steps to the right with the right foot, and stands in a posture
similar to that of Ganseki. Instead of doing a Ganseki nage. Tori comes back with his right
foot, and pulls behind Ukes right leg. At the same time he slams his right foearm into Ukes
right throat. Ukes right arm is gripped under Ukes throat. Tori is now standing behind
Uke, qand does Kosshi Nage to throw Uke. Uke falls to his back.

12. SOFU
Uke does Ryote mune dori. Tori grabs Uke in Hon Jime. Tori steps forward with the right
foot, Ukes steps back with the left foot, and then the right foot. Tori kicks Uke right knee.
From the kick, Tori places his foot against the left hip. Tori lets himself fall backwards to
the ground, and does a Tomoe Nage.
13. GYAKU DORI
Uke grabs with his right hand, and does a left tsuki. Checks checks with the left, and steps
to the left with Jodan Uke. Toeri holds Ukes right arm with Omote Gyaku, and pivots in a
clockwise direction. Tioi places Ukes arm on his shoulder (still in Omote Gyaku). Tori
then goes down to his left knee, and does Gyaku Seio Nage.
14. RAMPU
Uke grabs Tori collar with the right hand, and the Obi with the left hand. Tori sticks his
left arm under Ukes right arm at the elbow, and grabs the lapel. This is a elbow lock (keep
Ukes qarm ptessed against the body, and push the elbow up). Tori puts his right arm
under Ukes left arm, and grabs the other lapel. Tori no pivots to the left, until he is
completely with his back to Uke, and then drops to the right knee, to do Seio Nage.
15. FUSETSU
Uke does Ryomune Dori. Tori steps forward with the left foot (next to Ukes), and grabs
under both armpits (strike first with a Boshi Ken then grab). Step steps forward a little
with the right foot (turn Uke a bit), so that Tori is almost behind Uke, and does a Koshi
Nage. Uke should fall onto his back.

18

ERI SHIME GATA


1. HON JIME (Principle choke)
Uke grabs the right lapel with the right hand, and the left with th eleft hand (the wrists are
crossed. The palms face towards the body, with the thumbs inside the jacket. Uke applies
a scissor action to apply the choke, twisting the knuckles into the sides of the neck.
2. GYAKU JIME (Reverse choke)
Uke grabs the same as Hon Jime, but the palms face out, with the fingers inside the jacket.
Uke does the scissor action to choke.
3. UDE JIME (Arm choke)
When Ukes does a right arm grab, Tori applies a Ura Oni Kudaki, and goes down with
Uke, falling on the arm to break it.
4. ITTEKI JIME
Uke grabs Toris left lapel. Tori places his left hand hand under Ukes, on the lapel, and
steps back with the left foot, then forwards with the left foot, to the outside of Ukes foot.
The right foot comes to the rear of Toris left foot. Tori drops his body weight. Tori uses
his fore arm and elbow to lever Ukes arm up. Tori then places his right hand on Ukes
shoulder (Toris arms are crossed). Tori then steps behind Uke, and places the left hand on
Ukes shoulders . Tori then grabs the flesh on both sides of the neck, and gripping tight,
pulls Uke back, and down to the ground.
NOTE

19

Grip the flesh tight to shock Uke into dropping back. Place your head against his when he
drops to apply pressure to the back of the neck. When Uke is down roll over him
(forwards) to break the neck.
5. ITAMI JIME
Tori does Ryote Mune Dori, with the palms down. Tori then pulls forward while pushing
back and inward with the tips of the knuckles on both sides of the neck.
6. OSHI JIME / OSAE JIME
Tori places both hands on the shoulders, and drives Boshi Kne into the side of the neck,
just above the collar bone, in a downward forwards motion.

7. GYAKU OSHI JIME / GYAKU OSAE JIME


Tori applies Gyaku Jime (grab is high). Tori then pushes with the thumbs into the neck, in
a downward, or upward motion.
8. SUWARI JIME
Tori grabs the lapel with both hands, and then walks around Uke. One forearm is at the
back of the neck, the other is in front of the neck. Tori is now standing behind Uke. With
the left hand Tori grabs his right elbow, and the right grabs the left. The forearms are now
pushing into the neck. Tori pushes with the forearm at the rear of the neck, and pulls with
the front. Tori can also use his own head to apply pressure.

20

MOGURI GATA
1. GYAKURAKU OTOSHI
Uke grabs Toris lapel with the right hand, and the right sleeve with the left hand. Tori
steps in to apply a Muso Dori to Ukes left arm. Tori then pivots to the right, applying the
lock, and kicks with the right heel into the back of Ukes calf. As Ukes leg is knocked out,
Tori pushes down on Ukes arm forcing him into a sitting position, or breaking the arm.
2. JIGOKU DORI
3. TAMA KUDAKI
4. HICHO DORI
Ukes does a right Jodan Tsuki, left Jodan Tsuki, and a left keri. Tori does a left Jodan
Uke, lright Jodan Uke, and a left gedan Uke. Tori then grabs the left wrist with the right
hand, and the right shoulder with the left hand. tori then kicks with the right heel to Ukes
left thigh. Tori then places the left foot on Ukes right thigh, and does Uchi Mata.
5. ONI BUSE
Uke grabs the lapel with the right hand. Tori holds underneath with the left hand. Using
strength the hand is pulled awayk, and with a sudden and instant move, also with kiai, Tori
steps forward with the right foot, and strikes with a right Taisho to Uko
6. INAZUME NAGE
7. MIZU DORI (Water capture)
8. KISETSU

21

9. TAI OTOSHI
Uke does a right Jodan Tsuki, Tori shifts to the right 45 degrees to avoid the strike. Uke
then does a right Zenpo Keri, Tori shifts 45 degrees to the left, and does a right Chudan
Uke, to the outside of the knee. Uke then does a right Jodan tsuki. Tori shifts again back
to the left, and grabs Ukes right wrist with the right hand. Tori reaches over Ukes arm
with his left hand, and grabs the collar. Uke pulls the hand away from the collar. Tori the
grabs the left hand with his left hand. Tori then moves his left shoulder under Ukes arm
and throws with Seio Nage.

10. MOGURI DORI


Uke grabs Toris right collar with the left hand, and does a right Jodan Tsuki. Tori
responds by checking the grab with the right hand, and does a left Jodan Uke. Uke does a
right keri, with Tori doing a left Gedan Uke. Tori then grabs Ukes right shoulder with the
left hand, or a Boshi Ken into Uko (door of rain, rear of the Jaw bone). Press with the
thumb, pull with the hand, and drop to the right knee in a circular motion, dropping Uke.
11. MOGURI NAGE
Uke grabs the right collar with the left hand, and does a right Jodan Tsuki. Tori checks the
grab, and does a left Jodan Uke. Uke does a right keri, Tori does Gedan Uke. Tori
changes the left hand grab to the right hand to apply Oni Kudaki on the left arm. Tori
kicks wirth the right heelstrike to the back of Ukes left thigh, then steps back down to the
right knee.

22

MUTODORI WAZA
1. SOJA DORI (Ken Jiya Dori)
Tori is in Hira Ichimonji no kamae. Uke has a Katana and is in Daijodan. Uke cuts with
Jodan Kiri. Toris right foot moves to the rear of the left (turning the body sideways). Tori
then does Ken Nagare (do not move the feet). Tori then steps forward with the right foot,
and strikes with a right Fudo Ken to Ukes right Bicep Uke drops the Katana). Toris left
hand takes hold of Ukes right wrist, and the right hand takes hold of the right shoulder.
Tori then turns clockwise pulling down with the right hand, and dropping Uke to the
ground.
2. ICHIMONJI
Tori is in Hira Ichimonji, Uke is in Daijodan, and cuts with Jodan Kiri. Tori steps a little
forward with the right foot, and drops the body weight low. Tori strikes with a right Fudo
Ken to the stomach. Tori then jumps back, to a low Kamae.
3. TSUKA OTOSHI
Tori is in Ichimonji, Uke is in Daijodan. Uke does Jodan Kiri. Tori steps forward to the
left, and drops to the right knee. Tori places both hands on Ukes wrists. Tori then stands
and pushes Ukes hand into the air, with the Katana moving back. Tori steps to the left
Keeping the Katana to the back. Tori turns clockwise with the right hand taking hold of
the handle. Tori has his back to Ukes chest, with the arms over the left shoulder, and Tori
throws Uke. Tori keeps hold of the sword, and cuts Uke.
4. BI HAKU DORI / HAKU DORI
Tori is in Seigan no kamae, Uke is in Daijodan, and cuts with Jodan Kiri. Tori steps
forward with the right foot, and goes under the cut, and place the hands on Ukes elbows,
and push up, to put him off balance. Tori then strikes with a Shikan Ken to the solar
plexus, and again takes hold of both elbows. Tori then pivots to the left, until his back is
to Uke, and then dropping to the right knee, throws Uke.

23

5. MAWASHI DORI
Tori is in a right Ichimonji, slightly leaning forward. Uke is in Daijodan , and cuts with
Jodan kiri. Tori steps to the left, and strikes down (in a sweeping motion) with Shuto, to
Ukes right Nagare. Tori then does a Sanshin style kick to the underneath of the right arm
(this lifts the arm up), and from under the right arm, Tori strikes with a right Fudo ken
underneath the arm to Asagasumi.

6. USHIRO DORI
Tori has his back to Uke. Uke is in Daijodan, and does a Jodan Kiri (from behind). Tori
steps to the left, comes back, and grabs Ukes arm under the elbow (between the arm, and
the body). With the right hand grab Ukes right hand, and the left with the left hand. With
the left hand apply Omote Take Ori, and with the right hand, Omote Gyaku, and then turn
to the right. During the turn strike with a right Shuki Ken to the face, and keep turning
until you have your front to Uke. Finish with a right kick to Butsumetsu.
7. SHISUMI DORI
Uke is in Daijodan, and does Jodan Kiri, followed by a Tsuki. Tori steps back as the first
cut comes down, and Soto Sabaki
(left foot forward). Tori places his right hand on Ukes right hand, and strikes with a left
Fudo ken to Ukes left elbow (strike from under the right arm). This knocks Ukes left arm
away. Tori has hold of Ukes right hand in Omote Gyaku, and he lifts it up, and makes a
full clockwise circle (Omote Gyaku) until Uke is on his back.
NOTE
Be totally aware of the sword at all times in this technique.

24

25

Trevor Robinson Shidoshi


GIKAN RYU

Truth, Loyalty, and Justice school


Gikan Ryu is almost totally unknown to the public and the secret techniques were
handed down only to the next generation. The Gikan Ryu Grandmaster was Uryu
Hangan Gikanbo. He was of the Eiroku Era (1558 - 1570). He was a ruler of Kawachi
No Kuni (Osaka) with the clan castle Uryujo. He was a true warrior and martial
artist. His original intentions were to strive to keep the country at peace for all time.
From his teachings there comes his slogan Bufu Ni Sente Nashi (From this side
there is not the first strike). The Gikan Ryu was developed by Gikanbo with a lot
based on the Chinese style of Cho Gyokos line. He then merged these with native
Japanese martial arts. This style contains special kicks, punches and throws. Grades
were awarded on a step by step level system being scrolls for: Shoden Gata, Chuden
Gata, Okuden Gata, and Kaiden Gata etc... In ancient times the name Jujitsu was not
used. The styles were termed: Kosshi Jutsu, Koppo Jutsu, Daken Taijutsu. His special
punch could break a sword and he was a specialist of Koppo Jutsu, Hicho Jutsu and
Senban Nage Jutsu, etc. The 10th Generation Uryu Gikanbo went by the same name
as the first. This man was a warrior supporting the Emperors side during the rebellion
of Tenchi Gumi No Ran at the end of Edo Era on August 17th, 1863. This was a
famous battle. He was a tremendous force in the battle, being injured by a rifle shot he
continued attacking with his one arm until he was overcome by many sword cuts from
his enemies. Injured to the point of exhaustion he retired from the battle behind a
temple. He was found there by an Iga warrior, Ishitani Matsutaro on his way to join
the battle. He was told by Gikanbo that it had finished. Ishitani aided Gikanbo and
took him into Iga to recover, later being repaid for this kindness by being taught
Gikan Ryu techniques. On his own merit Ishitani Matsutaro was a Grandmaster
already of Takagi Yoshin Ryu, Kukishin Ryu, etc. In Meiji Era when Ishitani was 61
he was given employment by the father of Takamatsu Sensei at the family factory.
From this Ishitani started teaching Takamatsu Sensei. From Ishitani, Takamatsu
Sensei was granted the Grandmastership of the next generation in Takagi Yoshin Ryu,
Kukishin Ryu, Gikan Ryu etc.

GIKAN RYU

Truth, Loyalty, and Justice school


KOPPOJUTSU
SOKE OF GIKAN RYU
1. URYU HANGAN GIKANBO
2. URYU YOSHIMITSU
3. URYU YOSHIMORI
4. URYU YOSHICHIKA
5. URYU YOSHITAKA
6. URYU YOSHIHIDE
7. URYU YOSHIMORI
8. URYU YOSHIAKI
9. URYU YOSHIYASU
10. URYU GIKAN
11. ISHITANI TAKEOI MASATSUGU
12. ISHITANI MATSUTARO TAKEKAGE
13. TAKAMATSU TOSHITSUGU
14. AKIMOTO FUMIO
15. HATSUMI MASAAKI

Yeiroku era 1558-1570


Tensho era 1573-1592
Kan-ei era 1624-1644
Kambun era 1661-1673
Genroku era 1688-1704
Horeki era 1751-1764
Kansei era 1789-1801
Tenpo era 1830-1844
Bunkyu era 1861-1864
Keio era 1865-1868
approx death 1905
approx death 1911
b. 1887 - d. 1972
approx death 1962
b. 1931 -

HISTORY OF GIKAN RYU


The Ryu was founded by Uryu Gikanbo, was the Daimyo of Kawachi no Kuni
(Kawachi province). He lived in the family castle known as Uryujo.
It is said that Uryu Gikanbo's punch was so powerful, that he once broke a sword
blade in half. He was also a master of Hichojutsu, and Senban Nage.
The 2nd Soke Uryu Yoshimitsu, was to become in his later years a monk.
the 10th Soke Uryu Gikan met Ishitani Takeoi Masatsugu, of the Kukishinden Ryu .
Uryu had been involved in the battle "Tenchigumi no Ran". This took place on 17th
August 1863, he was fighting for the Emperors side, but was shot in the arm by a
musket. He still continued to fight with the use of only one arm. He retired to the
safety of a nearby temple. It was at this temple that he was met by Ishitani, He told
Ishitani that the battle had already finished, so Ishitani then helped him recover, and
afterwards escape to the province of Iga.
A friendship was then formed, and Ishitani was taught the Gikan Ryu , he later
became Soke of this school, adding it to two others that he was already Soke of
(Kukishinden Ryu , and Hontai Takagi Yoshin Ryu ).

Gikan Ryu Koppojutsu


Justice/Loyalty Regard School

Shoden Kata
Hiki Otoshi
The uke grabs the left sleeve between the shoulder and the elbow with his right hand.
The tori sidesteps to the left covering the grabbing hand with his left inside wrist area
on the outside of uke's grabbing hand, then bring the right hand over the top to create
a jumonji effect with your arms to bar the arm then drop back to the right bringing
him down.

Kakae Komi
The uke grabs the left wrist with the right hand and jodan tsuki with his left. The tori
drops to the left and uses a basic tehodoki movement on the wrist grip and executes a
jodan uke with his right hand, then he hugs the arm with his right arm to form an arm
bar, twist to the outside of the arm and step on the toes to trap any movement, then
twist and lean back to break the arm.

Kote Gaeshi
The uke grabs the left hand with both hands. The tori steps to the left and takes his
right hand over the top of uke's hands takes hold of his own left hand. Then twist
bringing uke's hands in towards your chest trapping them on your chest then taking
ura gyaku with your right hand and barring the elbow with your left elbow to his right
elbow.

Iri Chigae
The uke grabs the right wrist with his right hand. The tori steps back 45 degrees to the
left and grabs the inside of the wrist, then step in and execute a left happa ken strike to
the solar plexus to bar the arm, bring the wrist down to the obi then take a deep step
away and twist to throw uke to the ground.

Ete Nage
The uke grabs the left wrist with his right hand and jodan tsuki with his left. The tori
responds by sidestepping to the left whilst twisting the left hand so that the palm is
facing up and the fingers are pointing to the eyes, then with your right hand take an
upside down omote gyaku, then place your left hand palm against the uke's fingers
with your fingers pointing towards the eyes, drop your weight and wind the arm in a
circle to throw.

Ryote Dori
The uke grabs both wrists . The tori responds by stepping forward 45 degrees to the
right, taking his left hand towards the eyes to break the grip then bring down the left
elbow down sharply onto the uke's left elbow to break the elbow while stepping back.

Ryomune Dori
The uke grabs the lapels with both hands. The tori passes the right hand over and in
between the uke's hands and assumes a kongo gassho grip, then twist to the right and
bring the hands towards the chest then step back with the right leg to take down.

Kasumi Gaeshi
The uke grabs the left lapel with his right hand and jodan tsuki with his left. The tori
steps to the left whilst covering the grabbing hand with his left hand then brings his
right hand over the top to grab his own clothing (jacket) to entangle the uke's hand.
The tori then twists to the right taking ura gyaku bringing the left elbow over the top
of the grabbing arm to lock arm twist back to break arm.

Ori Ki
The uke grabs the obi (belt) with his right hand and punches (jodan tsuki) the tori
steps forward to the left and blocks whilst covering the right hand with the middle
knuckles on the back of uke's hand, then as you step back bring your right hand on top
of your left hand to apply pressure to drive the knuckles home drop your hips deep to
create intense pain.

Uchi Otoshi
The uke executes a right tsui ken (downward striking fudo ken). The tori drops back
to the right whilst blocking with a jumonji cross block then kick attacker with right
foot to the kinteki (testicles) as you drop back, grab the wrist with your right hand and
the elbow with your left forearm then step deep into deep stance.

Iki Chigae
As you walk towards each other the uke grabs the right wrist with the right hand, the
tori responds by twisting to the outside of the arm and executes a left shuto to the
solar plexus whilst keeping hold of the uke's right hand then drop your weight and
grab under the elbow or triceps area with the left hand then row the elbow to throw.

Eri Hiki
The uke stands behind the tori and grabs the collar with his right hand. The tori then
twists inwards and away whilst executing a left boshi ken , covering the grabbing
hand as you go. Bring the left forearm onto the elbow as in ganseki, roll the forearm
to bar the arm, bring the other arm to join the left arm and step back, barring th arm
with both arms.

Hiki Tate
The uke grabs the tori's right wrist with his right hand. The tori steps back 45 degrees
to the left, grabbing the inside of the wrist then steps in and executes a fudo ken to the
solar plexus. Then hug uke's arm with the left arm barring the elbow then drop body
taking arm into attacker's body.

Maru Mi
The uke grabs the right wrist with right hand. The tori circles right hand clockwise to
grab uke's wrist and then steps in and bars elbow with his own arm or armpit and
executes yokonagare into uke's arm.

Gyaku Te Nage
The uke grabs both wrists. The tori kicks with right foot to uke's kinteki whilst
twisting left hand up so that the fingers are pointing towards uke's eyes. With the right
hand take an upside down omote gyaku then turn the wrist into a reverse take ori,
using your elbow to bar uke's elbow, then twist to throw.

Mojiri Gaeshi
The uke grabs left lapel with right hand and the tori executes a chinese burn usinf
pressure points twisting the body to the left and executing a right shuki ken to the face
to bring uke down.

Ichimonji
The uke grabs the right lapel with his left hand and executes a tsui ken. Tori covers
with right hand and drops to the right knee and catches punching hand with left, twist
clockwise rising up to bar both arms and throw with double seionage.

Gyaku Muna Dore


The uke grabs both lapels. The tori passes over and between the uke's hands and grabs
the right hand from underneath, then passes left hand under both arms whilst twisting
inwards to bar arms. Step across and throw with double seionage.

Eri Jime
The uke takes a cross hand jime (right hand on top). The tori executes a double boshi
ken to the butsumetsu (ribs) then takes ura gyaku on uke's top hand, twisting
clockwise, bringing left elbow over the top to bar the arm. Twist back to break or
throw.

Mae Kata Dori

The uke grabs the left lapel with his right hand and punches with the left. The tori side
steps to the left, taking ura gyaku with the right, then twist clockwise bringing left
arm over grabbing arm close to the body (creating hon gyaku) and down while
dropping body.

Tsuri Gane
The uke rugby tackles tori's waist. The tori hugs uke's chest and kicks to kinteki with
the right foot then executes a yokonagare bringing uke over. Then drive thumbs into
throat.

Uchi Komi Kakae


The uke executes a right tsui ken, the tori shifts back 45 degrees to the right, blocks
the arm and takes goja dori. Then twist in and execute a boshi ken to the throat with
the right hand and follows uke down keeping the goja dori on. Then straddle uke's
body, sits and twists to break the arm.

Kaeshi Nage
The uke, from behind, grabs the right with his right hand. As tori turns around, uke
punches to the head. Tori raises the right hand to cover the incoming punch while
grabbing the inside of the wrist. Twist clockwise with the body, bringing left hand
onto grabbing hand and twist wrist anti-clockwise to lock, then lift and throw.

Sanmyaku Dori
The uke hugs waist from behind (left hand on top). Tori strikes double fudo ken onto
uke's hands to release grip then takes uke's left hand with his right hand then brings
left hand under uke's left arm and grabs his own right wrist on top. Then twist anticlockwise to break the arm.

Gyokushin Ryu Ninpo

Koppojutsu History Weapons


Gyokushin Ryu Ninpo translates to The Jeweled Heart School of the Way of the Ninja in English.
Gyokushin Ryu is a school of ninjutsu that uses Koppojutsu and Taijutsu to defeat and arrest opponents.
Very little is actually known about this school. It is suspected that most of this school is passed down
through oral transmissions since the Densho only features ten images of techniques and three poems.
Very few people within the two major organizations of ninjutsu are even taught the techniques contained
within this Ryuha though both claim that the head of their organization is the only Soke. These
organizations even have different lineages for their Soke.
An important aspect of Gyokushin Ryu is its link to Esoteric Buddhism and its use of Kuji. There
are nine different Kuji that are formed by weaving and grabbing the fingers in different ways. There are
also those made by slashing the air in different directions, but it is not known if these are used in actual
combat or not like the others. What makes Gyokushin Ryu so unique is that the practitioner actually
performs Kuji during the technique, either by creating the hand signs himself or by grabbing the
opponent's fingers in bone-breaking locks. It is common practice to finish a technique by grabbing the
opponents finger(s) in such a way to form a kuji while also breaking the opponents finger.
Techniques in Gyokushin Ryu often involve movements in which the defender forces the
opponents elbow to point upwards. Other characteristics of Gyokushin Ryu techniques are twisting the
opponents arm up behind his back and the use of finger locks, as already mentioned. In general
movements in Gyokushin Ryu are marked by small, sudden changes instead of large, exaggerated
motions as seen in other schools of Koppojutsu like Gikan Ryu.

Gyokushin Ryu Teppanjutsu

The teppan is a square piece of iron about 3 in. by 3 in. Teppan literally means iron plate, but it
could be used in conjunction with techniques or in a similar manner to senban shuriken. In Gyokushin
Ryu it is common practice to not allow the opponent to see the teppan during the technique and
techniques using the teppan often involve hiding the weapon before, during, and/ or after the technique.
For moreinformation on shuriken, click here: Shuriken.

Concealing the Teppan in Kamae


These are not actual stances in Gyokushin Ryu as Gyokushin Ryu has no set postures (Kamae).
These are simply the names of natural positions used in other styles that are used in Gyokushin Ryu.
Correct Body Posture (Shizen no Kamae)
The defender stands with his feet about shoulder width apart in a neutral stance. The defender's
arms hang loosely by his sides with the right hand just a little bit behind the right thigh. The defender
holds the teppan in his right hand by pinching the teppan in the middle with the thumb and covering the
rest of it with his fingers, but not so that his fingers go over the edges of the teppan. One of the corners
of the teppan should stick out slightly in between the defender's thumb and index finger. Other than that
the rest of the teppan is concealed when the back of the defender's hand faces the opponent. This is one
common grip that can be used many others can be used for concealing the teppan.
Seated Posture (Za no Kamae)
The defender sits with his legs crossed and his back straight. The ninja can conceal the teppan
underneath his right foot. If an enemy approached, the ninja could easily throw the teppan.

Teppan Techniques (Teppan Waza)


Outer Reversal Counter Techniques (Omote Gyaku Kaeshi Waza)
The opponent grabs the defender's right hand the one holding the teppan in an outward
reversal (Omote Gyaku). As soon as the opponent grabs, the defender circles his hand down to the left
and then back up to the right. As he brings his hand back up to the right, the defender suddenly changes
direction and strikes the teppan into the crevice behind the opponent's ear. The defender pushes his hand
straight forward past the right side of the opponent's face as he steps forward with his right foot and then
steps forward with his left foot onto the opponent's right foot. By keeping his arm out straight while
walking forward, the defender causes the opponent to fall onto his back. The defender can then throw the
teppan into the opponent's face.
The opponent grabs the defenders right wrist in an outer reversal (Omote Gyaku). The defender
pushes his right hand down to the left toward the opponents right shoulder creating a lock on the
opponent's right wrist. This will force the opponent down onto his right knee. As the opponent goes
down, the defender grabs the left side of the opponent's face with his left hand and places the teppan into
the crevice behind the ear and the jaw. The defender pulls and twists the opponent around to the right
into a seated position. Once the opponent is on the ground, the defender can continue to push the teppan
into the opponent's jawline below the ear while keeping the opponent's head in place with the other hand.
Grab Counter Techniques (Kumi Uchi Kaeshi Waza)
The defender has the teppan hidden in his right hand. The opponent grabs the defender's left lapel
with his right hand and the defender's right upper arm with his left hand. The defender moves freely by
pivoting on the left foot to the right while pulling his right arm back. The defender then places the
teppan against the inside of the opponent's elbow. The defender pushes the opponent's elbow up as he
steps in with the right leg. The defender grabs the opponent's right arm with his left hand while he strikes
the opponent's jawline below the ear. The defender releases his hold on the opponent's right arm before
slamming his right forearm down into the crook of the opponent's right elbow. The defender slides his
right foot back into the opponent's left foot while pushing down on the opponent's arm to sweep out the
opponent's leg. As the opponent is thrown, the defender drops the teppan next to his left foot. Once the

opponent is on the ground, the defender places his right foot on top of the teppan to hide it. By doing
this, the defender is able to complete the entire technique without revealing the teppan to the opponent.
Attacking the Weak Muscle (Jyaku Kotsu Uchi)
The defender is facing off against two opponents one on the left and one on the right. The
opponent on the defenders right attacks with a right punch. The defender steps to the right and blocks at
the opponent's forearm grabbing it. As soon as he grabs, the defender strikes the opponent's arm between
the bicep and tricep (Jyaku Kotsu) with his right wrist. The defender quickly throws the teppan under
this opponent's arm at the other opponent's face. The defender can then loop his left arm under the
opponent's punching arm, placing his forearm against the back of the opponent's shoulder blade. At the
same time, the defender would step his left foot in front of the opponent's right foot and finish by
throwing the opponent to the ground.

RYU HA
GIKAN RYU KOPPO JUTSU (Truth, Loyalty, and Justice school - Bone/Structure attacking art)
Founder: Uryu Hangan Gikanbo - 16. century
The Gikan Ryu Koppojutsu is almost totally unknown today to the public. The founder of Gikan Ryu was Uryu
Hogan Gikanbo , who lived during the Eiroku Era (1558 - 1570). The Gikan Ryu was heavily influenced by
Gyokko Ryu Koppojutsu. From the teachings of Gikanbo comes the saying: 'Bufu Ni Sente Nashi (From this
side will not come the first strike) . Gikan Ryu Koppojutsu contains special kicks, punches and throws. It is
said that Gikanbo developed a special punch that could break a sword. Gikan Ryu is known for powerful
"cross" counterstrikuing, which come from far side of the body to strike, unlike strikes seen in the other
Bujinkan schools. These strikes, when performed properly, can disable the attacker without further
confrontation.
GYOKKO RYU KOSSHI JUTSU (Jewel Tiger School - Flesh Attacking Art)
Founder: Tozawa Hakuunsai - 12. century
Koshijutsu: Attacks against soft parts of the body and muscles. Moves sideways, or around the attack, to get
close to Kyoshi (the week parts of the body). These targets can be nerve points, but also inner organs, or
muscles and where the muscles are attached. One of the reasons for this system is probably because it was
developed by a small person. A frequently used body weapon in Gyokko ryu is the fingers and the fingertips.
It is important to protect the heart. Therefore a starting position with the right leg forward is preferred, so that
the left side is turned away from the opponent. Gyokko Ryu Kosshijutsu is the oldest school in the Bujinkan,
and was probably brought to Japan from China around 618 AD - 907 AD. Gyokko Ryu's movement is suited
for armored or unarmored combat. It utilizes distancing, circular movements and attacks to detailed functions
of the body such as muscles and nerves. Typical for the Gyokko Ryu are powerful counter-striking blocks
that hit with the knuckles and balance-taking. Shitojutsu (use of thumbs and fingers) is at trait of Gyokko Ryu,
and the many various fist positions used in the Bujinkan come from this school
GYOKUSHIN RYU NINPO (Jewel Heart School - Higher order of ninjutsu)
Founder: Sasaki Goeman Teruyoshi - 16. century
It is believed that the techniques of Gyokushin Ryu are based on Gyokko Ryu. In the west, not much is
known of the combat techniques of Gyokushin Ryu, except that it may have utilized many sacrifice-throws.
The school specialized in the espionage aspect of Ninjutsu. This school was kept secret and unmixed with
other schools until it passed to Toda Nobutsuna (1624-1644).
KOTO RYU KOPPO JUTSU (Knocking Down Tiger School - Bone/Structure Attacking Art)
Founder: Chan Buso - 16. century
The exact origin of this school is not known, but it is speculated that the Koto Ryu came to Japan via Korea,
by Chan Busho, a Chinese warrior. The techniques were organized by Sakagami Taro Kunishige in 1542.
Koto Ryu uses short distances between opponents, and the techniques are direct and to- the-point. It
focuses on powerful striking, with power generated from twisting and turning of the hips and shoulders. In
the Bujinkan, it is renowned for its unarmed techniques that attack the body's structure to take down
opponents. Distance is created by moving along with the attack, then moving forward with a strike and then
move quickly out to a safe distance again. This is done to come in with a strike at exactly 90 degrees against
the bone structure of the attacker to do most damage. To do this demands good timing and rhythm in the
defensive attack, often done with yoko aruki. Another important part of the footwork is to hit the attackers toki
(the top of the foot), by kicking or stepping on it to control his balance. Starting distance should be really big
from the start, the attacker must take one big step or several steps to reach the defender. This states clearly
that Koto Ryu was developed for the battlefield or out doors in general, and not inside a house or narrowed
places. The Koto Ryu stylist should be looking right between the attackers eyebrows, so that the attacker
cannot read the intentions through his eyes. The attacker will also believe that he have eye contact, wich will
be confusing for him in an unusual way. Other typical methods of Koto Ryu is the use of metsubushi,
different ways of blinding the attacker or attacking the eyes directly.
KUKISHINDEN RYU HAPPO BIKEN (Nine Demons School - Weapons Art)
Founder: Izumo Koshiro Yoshiteru - 12. century
The founder was a guard of the Tenno Go-Daigo (Emperor) called Yasushimaru Kurabito Takamasa.
Because of his excellent contribution as a guard, Yasushimaru was later awarded Kuki family name. The
Kukishinden style was developed in the Kumano prefecture, and during the life of the school it was employed
by Japanese seamen for combat. This greatly influenced the schools techniques and weapons. Warriors of
the Kukishinden are said to have used masts and rigging during combat. In addition to eight techniques such
as Bojutsu, Yari, Naginata, Shuriken, Taijutsu this Ryu also uses Kenpo (Sword). It excels especially in it's
use of the sword. At the time, as it was an era of civil wars, sword was mainly used to kill, but as time
changes and it became more peaceful, sword switched its function to protect good, and punish the bad.

Because the Kuki Suigun (Navy) used swords on ships, the lowered Posture that gave better balance
became the basic way of sword of this Ryu. This school is most famous in the Bujinkan for its many different
weapon techniques. It is a complete fighting system and battlefield art based on unarmed fighting, bo, hanbo,
yari and naginata techniques as well as techniques for throwing projectiles. Techniques are done assuming
the combatants are wearing armor, and the movements reflect this. Since this system may have been used
as a naval art, consequently the movements are designed to be used on a ship that is slippery and
rocking.Sensei Ueshiba, the founder of modern Aikido, in his youth studied the Kukishinden from the Kuki
family.
KUMOGAKURE RYU NINPO (Hiding In The Coluds School - HIgher order of ninjutsu)
Founder: Heinaizaemon Ienaga Iga - 16. century
It is introduced by Iga Heinaizaemon Ienaga (Kumogakure Hoshi) who was believed to be the founder of Iga
Ryu Ninpo. This Ryu was passed to the Toda family by Toda Sagenta Nobufusa. Ninjutsu school of thought,
centering its techniques on the non-violent side of Ninjutsu. Specialties of this Ryu include the Kamayari (a
hooked spear), and is known for its tobi-waza (jumping techniques). The hooked spear was originally used
for climbing up the sides of ships and was also used against swordsmen. Also used was the Demon Mask,
sometimes worn by the members of the Ryu, for masking their faces, to play on the myth surrounding ninja
and to scare the enemy. It may be from here that the Kikaku Ken strike ("Demon Horn strike") originated,
which is rarely seen in other arts. When going into battle, ninja of this Ryu wore armored sleeves to protect
themselves. Kumogakure Ryu also taught various survival techniques such as making fire in wet weather. It
is said that the phrase "Shikin Haramitsu Daikomyo", which is said during the Bujinkan bowing procedure,
comes from this Ryu and reflects both Buddhist and Shinto attitudes.
SHINDEN FUDO RYU DAKEN TAIJUTSU (Immoveable Heart School - Striking/Grappling Art)
Founder: Izumo Kanja Yoshiteru - 12. century
Shindenfudo Ryu Dakentaijutsu was founded in the beginning of 1100 by Izumo Kaja Yoshitero. Shindenfudo
Ryu's jujitsu was one of the arts that contributed to the creation of Kodokan Judo. It is most famous in the
Bujinkan for the rough Dakentaijutsu striking techniques. It utilizes throws, strikes, locks, and kicks done in a
fairly straightforward manner. It uses the body as a striking weapon and often appears "hard" in application.
The Shinden Fudo Ryu emphases the use of nature, and techniques are often very casual-looking. There
are no formal postures in the school, the kamae are ?held in your heart?. However most of the techniques
start from natural standing and sitting postures. One of the secret attributes of Shinden Fud ryu is the
"Principle of nature". Shinden Fudo Ryu suits small od weak persons very well. The school is specialized on
Jujutsu and Iainuki (fast sword drawing). Striking and kicking should be done in blind angles of the opponent.
TAKAGI YOSHIN RYU JUTAIJUTSU (High Tree, Raised Heart School - Grappling Art)
Founder: Takagi Oriemon Shigenobu - 17. century
Takagi Yoshin Ryu was often used by ancient Japanese police in close-quartered urban settings to
apprehend fugitives. It employs grappling and throwing techniques similar to modern day
Jujitsu/Judo/Aikido. Takagi Yoshin Ryu has a "yielding" feel that reacts to the forces provided by the
opponent, and uses someone's efforsts against them. Although similar in some ways to Judo/Jujitsu/Aikido,
Takagi Yoshin Ryu goes further by making it more difficult for the opponent to roll or fall safely. It includes
techniques for non-lethally ambushing, disarming, and capturing people for questioning. Fighting wearing
armour and Daisho (long and short sword), and fighting agains oponent wearing armour and Daisho. Takagi
Yoshin Ryu Jutaijutsu has been handed down together with Kukishinden Ryu for generations.
TOGAKURE RYU NINPO (Hidden Door School - Stealth/Survival Combat Art)
Founder: Daisuke Nishina - 12. century
It was founded by Togakure Daisuke who was a vassal of Kiso Yoshinaka when he lost a war and, after
learning various military arts such as Kosshijutsu, and Kenjutsu from his uncle Kagakure Doshi, was in hiding
in Iga in the early 12th Century. It was initially called Togakure Ryu Happo Hiken but has been called by
various names since that time. Iga Ninja such as Momochi Sandayu and others studied the Ryu and they
passed it to the Natori family of Kishu clan, and later in the 17th Century, to the Toda Family. Togakure Ryu
is known for it's use of the Shuko, Sendan Nage, Shuriken, 4 feet Shinodake used in Suiren. Togakure Ryu
Ninpo Taijutsu is a branch of Kosshijutsu. Togakure utilizes a large array of ninja weapons, including the
Kosetsu Shogee, shuriken, Shuko/Ashiko hand and foot claws, grappling hooks, etc. The movements in
Togakure Ryu are very low, stretched out and angular - as opposed to circular movements with small footbase as seen in other arts. It was developed in highly mountainous areas, and its very low stances and long
range attacks make much more sense when put in the context of that terrain. The strategies employed are
adapted for survival and escape, such as throws that direct the attacker away, rolling movements, evasion
and "disappearing" skills, and techniques that incapacitate (sometimes brutally and deceptively). When
necessary, the emphasis was on escape and spying involving the use of little gadgets, espionage,
concealment, sabotage, breaking in and escaping, etc. The Sakki Test for the rank of Godan (sensing an

attack without seeing it) comes from Togakure Ryu

TAIJUTSU

GIKAN RYU KOPPO JUTSU (Truth, Loyalty, and Justice school)


KAMAE
Shizen No Kamae
Hachiku No Kamae
Ichimonji No Kamae
The body is side on. The left leg leads, and is almost straight with the left foot pointing forwards. The right
foot, faces to the rear. The right hand is near the left shoulder.
Sanposhin No Kamae
Hira Ichimonji No Kamae
The arms are straight out at shoulder height to the sides. The palms are down. The feet point out to the
sides.
WAZA
Uke does a Tsuki. Tori steps back with a left Jodan Uke. Tori shifts his weight to the left keeping his left hand
in contact with Ukes right wrist. The right forearm comes in contact with Ukes neck, and tipping Ukes
balance knocking him back.
Star in Hira Ichimonji no kamae. As Uke starts a Tsuki, Turn on the spot to the left, The Palm of the right
hand comes into contact with the back of Ukes neck, and with a slap, projects Ukes forwards.
Start in Hira Ichimonji no Kamae. As Uke starts his Tsuki, Turn to the left like a spinning top to the left. Turn
the hand into Shikan Ken (palm up), and strike into the neck.
Start in Shizen. Uke strikes with a right Tsuki. Tori moves into a Migi Ichimonji. As the hands pass over the
punch the fingers point towards the eyes (do not move out of the way, place your right foot on his right foot).
Uke applies pressure to your arm. Tori moves 90 to the left, and strikes with a Ura Shuto to Shichibatsu.
Ryote Fudo Ken, with the left hitting Shichibatsu, and the right hitting just below the shoulder.
Henka
Start from Shizen. Uke does a right Tsuki. Tori moves to Ichimonji, and as the hands pass over pointing at
the eyes, press his arm up, and move in with a right kick to his left Satani. If you Jodan Uke is too far to the
left kick with your right leg to Omote Sai, on his right thigh.
Start in Shizen. Uke does a right Tsuki. Tori does a Jodan Uke, Uke does a left Tsuki. Tori moves to the
outside, and strike down, and forwards with the right hand as it aims towards the face.
The right strike should be open or in Fudo Ken
Star in Shizen. Uke does a right Tsuki. Step with the left foot to the outside of his right arm (he aims for the
face). As he steps Tori strikes with a left Fudo Ken to Butsumetsu. Tori's right hand then grabs Ukes right
wrist. The left Fudo Ken strikes down on top of the right thigh. Tori drops down on his left knee on top of
Ukes right foot, and pulls the right hand down and forward. Tori then does a right kick to Men or Suigetsu.
Tori then spreads Uke out using both of his arms (keep the knee down on the foot). Tori pulls the right arm
back, and kneels on it. Tori reaches under the left leg (above the knee) from Ebi Dori, and the right hand
controls the lower back.
Shoden Kata

Hiki Otoshi
The uke grabs the left sleeve between the shoulder and the elbow with his right hand. The tori sidesteps to
the left covering the grabbing hand with his left inside wrist area on the outside of uke's grabbing hand, then
bring the right hand over the top to create a jumonji effect with your arms to bar the arm then drop back to
the right bringing him down.
Kakae Komi
The uke grabs the left wrist with the right hand and jodan tsuki with his left. The tori drops to the left and uses
a basic tehodoki movement on the wrist grip and executes a jodan uke with his right hand, then he hugs the
arm with his right arm to form an arm bar, twist to the outside of the arm and step on the toes to trap any
movement, then twist and lean back to break the arm.
Kote Gaeshi
The uke grabs the left hand with both hands. The tori steps to the left and takes his right hand over the top of
uke's hands takes hold of his own left hand. Then twist bringing uke's hands in towards your chest trapping
them on your chest then taking ura gyaku with your right hand and barring the elbow with your left elbow to
his right elbow.
Iri Chigae
The uke grabs the right wrist with his right hand. The tori steps back 45 degrees to the left and grabs the
inside of the wrist, then step in and execute a left happa ken strike to the solar plexus to bar the arm, bring
the wrist down to the obi then take a deep step away and twist to throw uke to the ground.
Ete Nage
The uke grabs the left wrist with his right hand and jodan tsuki with his left. The tori responds by sidestepping
to the left whilst twisting the left hand so that the palm is facing up and the fingers are pointing to the eyes,
then with your right hand take an upside down omote gyaku, then place your left hand palm against the uke's
fingers with your fingers pointing towards the eyes, drop your weight and wind the arm in a circle to throw.
Ryote Dori
The uke grabs both wrists . The tori responds by stepping forward 45 degrees to the right, taking his left
hand towards the eyes to break the grip then bring down the left elbow down sharply onto the uke's left
elbow to break the elbow while stepping back.
Ryomune Dori
The uke grabs the lapels with both hands. The tori passes the right hand over and in between the uke's
hands and assumes a kongo gassho grip, then twist to the right and bring the hands towards the chest then
step back with the right leg to take down.
Kasumi Gaeshi
The uke grabs the left lapel with his right hand and jodan tsuki with his left. The tori steps to the left whilst
covering the grabbing hand with his left hand then brings his right hand over the top to grab his own clothing
(jacket) to entangle the uke's hand. The tori then twists to the right taking ura gyaku bringing the left elbow
over the top of the grabbing arm to lock arm twist back to break arm.
Ori Ki
The uke grabs the obi (belt) with his right hand and punches (jodan tsuki) the tori steps forward to the left
and blocks whilst covering the right hand with the middle knuckles on the back of uke's hand, then as you
step back bring your right hand on top of your left hand to apply pressure to drive the knuckles home drop
your hips deep to create intense pain.
Uchi Otoshi
The uke executes a right tsui ken (downward striking fudo ken). The tori drops back to the right whilst
blocking with a jumonji cross block then kick attacker with right foot to the kinteki (testicles) as you drop back,
grab the wrist with your right hand and the elbow with your left forearm then step deep into deep stance.
Iki Chigae
As you walk towards each other the uke grabs the right wrist with the right hand, the tori responds by twisting
to the outside of the arm and executes a left shuto to the solar plexus whilst keeping hold of the uke's right
hand then drop your weight and grab under the elbow or triceps area with the left hand then row the elbow to
throw.

Eri Hiki
The uke stands behind the tori and grabs the collar with his right hand. The tori then twists inwards and away
whilst executing a left boshi ken , covering the grabbing hand as you go. Bring the left forearm onto the
elbow as in ganseki, roll the forearm to bar the arm, bring the other arm to join the left arm and step back,
barring th arm with both arms.
Hiki Tate
The uke grabs the tori's right wrist with his right hand. The tori steps back 45 degrees to the left, grabbing the
inside of the wrist then steps in and executes a fudo ken to the solar plexus. Then hug uke's arm with the left
arm barring the elbow then drop body taking arm into attacker's body.
Maru Mi
The uke grabs the right wrist with right hand. The tori circles right hand clockwise to grab uke's wrist and
then steps in and bars elbow with his own arm or armpit and executes yokonagare into uke's arm.
Gyaku Te Nage
The uke grabs both wrists. The tori kicks with right foot to uke's kinteki whilst twisting left hand up so that the
fingers are pointing towards uke's eyes. With the right hand take an upside down omote gyaku then turn the
wrist into a reverse take ori, using your elbow to bar uke's elbow, then twist to throw.
Mojiri Gaeshi
The uke grabs left lapel with right hand and the tori executes a chinese burn usinf pressure points twisting
the body to the left and executing a right shuki ken to the face to bring uke down.
Ichimonji
The uke grabs the right lapel with his left hand and executes a tsui ken. Tori covers with right hand and drops
to the right knee and catches punching hand with left, twist clockwise rising up to bar both arms and throw
with double seionage.
Gyaku Muna Dore
The uke grabs both lapels. The tori passes over and between the uke's hands and grabs the right hand from
underneath, then passes left hand under both arms whilst twisting inwards to bar arms. Step across and
throw with double seionage.
Eri Jime
The uke takes a cross hand jime (right hand on top). The tori executes a double boshi ken to the butsumetsu
(ribs) then takes ura gyaku on uke's top hand, twisting clockwise, bringing left elbow over the top to bar the
arm. Twist back to break or throw.
Mae Kata Dori
The uke grabs the left lapel with his right hand and punches with the left. The tori side steps to the left, taking
ura gyaku with the right, then twist clockwise bringing left arm over grabbing arm close to the body (creating
hon gyaku) and down while dropping body.
Tsuri Gane
The uke rugby tackles tori's waist. The tori hugs uke's chest and kicks to kinteki with the right foot then
executes a yokonagare bringing uke over. Then drive thumbs into throat.
Uchi Komi Kakae
The uke executes a right tsui ken, the tori shifts back 45 degrees to the right, blocks the arm and takes goja
dori. Then twist in and execute a boshi ken to the throat with the right hand and follows uke down keeping
the goja dori on. Then straddle uke's body, sits and twists to break the arm.
Kaeshi Nage
The uke, from behind, grabs the right with his right hand. As tori turns around, uke punches to the head. Tori
raises the right hand to cover the incoming punch while grabbing the inside of the wrist. Twist clockwise with
the body, bringing left hand onto grabbing hand and twist wrist anti-clockwise to lock, then lift and throw.
Sanmyaku Dori
The uke hugs waist from behind (left hand on top). Tori strikes double fudo ken onto uke's hands to release
grip then takes uke's left hand with his right hand then brings left hand under uke's left arm and grabs his
own right wrist on top. Then twist anti-clockwise to break the arm.

Kihon Happo
Koshi Gata
Two Ukes face Tori, all are in Hidari Ichimonji
Toris Ichimonji is loose and relaxed. Tori faces Uke 1, Uke 2 is on Toris right side. Tori turns the front of his
left foot outwards which exposes his right side to Uke 2 (this movement with the foot also sets up the correct
angle for Toris next move). Seeing an opening, Uke 2 steps in with Migi Jodan Tsuki. Tori keeps looking at
Uke 1 but steps with the right leg towards Uke 2, to the outside of Uke 2s strike and hits Uke 2s right
Butsumetsu with a Migi Tsuki. Tori then keeps moving in that direction to escape.
Continuation: After Tori strikes Uke 2 with a Migi Tsuki, he steps forward with his left leg (still looking at Uke
1) and then pivots on the left leg, turning the body anti-clockwise to do a simultaneous right punch and right
kick to Uke 1. The punch is to Men and the kick is to Suzu.
Torite Gata
The footwork for the Gikan Ryu style of doing each of the Torite Kihon Goho is very similar - basically four
steps which take Tori to the outside and then slightly behind Uke in a curve.
The main thing with the Gikan Ryu style is that the movement is everything and the technique is
accomplished by the movement.
Also, Tori does not attempt to release Ukes grip while applying the locks (or throws). Rather, Ukes hand is
kept against Toris chest (in the case of Ura and Omote Gyaku) and the final takedown makes use of the
chest pressing down on the back of Ukes hand to apply the lock and take the balance. For the Ura and
Omote Gyaku, Tori uses his middle and ring fingers of one hand on the inside of Ukes wrist to isolate the
joint and fold the wrist joint inwards.
Probably the most important point for the Torite Kihon Goho in the style of Gikan Ryu is that the footwork
takes you to a point where Ukes arm is behind his own back slightly.
Omote Gyaku
Uke and Tori are in Shizen.
Uke grabs Toris left lapel with the right hand. Tori uses his left hand to restrain Ukes right hand and steps
back left with his left leg. At the same time, Tori extends his right arm to push a right boshi ken into Ukes
right wakitsubo (Toriss hand is open in a shako ken attitude).
Tori then moves his right foot to the left (like yoko aruki).
Tori then steps with the left foot to behind Uke and (using his left hand) turns Ukes right hand anti-clockwise
palm out (so that the back of Ukes hand is against Toris chest). Tori isolates Ukes wrist with two fingers
and ensures that Ukes right hand is behind his back and the balance therefore gone.
Tori then swings his left leg back to position 3. and pushes down on the back of Ukes right hand with his
chest by bending the body forward. This applies the lock and takes Ukes balance.
Omote Gyaku Tsuki
Uke and Tori are in Shizen.
Uke grabs Toris left lapel with the right hand and does a left jodan tsuki. Tori uses his left hand to restrain
Ukes right hand and steps back left with his left leg. At the same time, Tori extends his right arm to slap the
right side of Ukes face with the back of his hand (the hand is open as if in ichimonji).
Tori then moves his right foot to the left (like yoko aruki).
Tori then steps with the left foot to behind Uke and (using his left hand) turns Ukes right hand anti-clockwise
palm out (so that the back of Ukes hand is against Toris chest). Tori isolates Ukes wrist with two fingers
and ensures that Ukes right hand is behind his back and the balance therefore gone.
Tori then swings his left leg back to position 3. and pushes down on the back of Ukes right hand with his
chest by bending the body forward. This applies the lock and takes Ukes balance.
Ura Gyaku
1.Uke and Tori are in Shizen.
2.Uke grabs Toris left lapel with the right hand. Tori uses his left hand to restrain Ukes right hand and steps
back left with his left leg. At the same time, Tori extends his right arm to push a right boshi ken into Ukes
right wakitsubo (Toriss hand is open in a shako ken attitude).
3.Tori then moves his right foot to the left (like yoko aruki).
4.Tori then steps with the left foot to behind Uke and (using his right hand) turns Ukes right hand clockwise
palm out (so that the back of Ukes hand is against Toris chest). Tori isolates Ukes wrist with two fingers
and ensures that Ukes right hand is behind his back and the balance therefore gone.
5.Tori then swings his right leg around clockwise so that he is further behind Uke and pushes down on the
back of Ukes right hand with his chest by bending the body forward. This applies the lock and takes Ukes
balance.

Musha Dori
1.Uke and Tori are in Shizen.
2.Uke grabs Toris left sleeve (at the elbow) with the right hand. Tori steps back left with the left leg.
3.Tori then moves his right foot to the left (like yoko aruki).
4.Tori then steps with the left foot to behind Uke and cups Ukes right elbow with both hands (Toris left
hand is on top, right hand underneath), directing the elbow down and back towards Ukes rear left hip. At this
point, Tori ensures that Ukes arm is behind his back and the balance therefore gone.
5.Tori then swings his right leg around clockwise so that he is further behind Uke and lifts Ukes right elbow
at the same time as the leg movement. This applies the Musha Dori. Once the elbow is lifted, Tori can swing
his left leg back anti-clockwise and push Ukes elbow back and up further with the right hand (in a rapid
snapping motion).
Ganseki Nage
1.Uke and Tori are in Shizen.
2.Uke grabs Toris left sleeve (at the elbow) with the right hand. Tori steps back left with the left leg.
3.Tori then moves his right foot to the left (like yoko aruki).
4.Tori then steps with the left foot to behind Uke and puts his left arm underneath Ukes right arm as an entry
into Ganseki Nage.
5.Tori then swings his right leg around clockwise so that he is further behind Uke and raises his left arm into
the Ganseki position preparatory to applying the throw. As soon as the right foot is in position, Tori inserts
his left foot in front of Ukes right leg and continues the clockwise rotation of the body to throw Uke with
Ganseki Nage.

GYOKKO RYU KOSSHI JUTSU (Jewel Tiger School)


KOTSU
Typical of Gyokko Ryu is the powerful blocks to take away the opponent's balance. When blocking, it is
preferred to block and hit with the knuckle of the wrist.
Strike the inside of Ukes wrist, with Nio Ken. This will injure the tendons, and veins of the wrists.
Back of the hand, with Shikan Ken, or Nio Ken. This will injure the small bones in the hand, making the fist
painful to clench.
Nagare. Use Shuto, but do not just drop the Shuto into the muscle, even though this is painful, more pain
and damage will occur if at the point of executing the Shuto the body weight is dropped. It is possible to tear
the muscle when doing this.
Bicep, use Shuto or Boshi Ken to the inside or the outside of the arm.
Shoulder joint, drive a Shikan Ken into the Joint. Best when as wing punch comes in.
The main point of Gyokko Ryu Taijutsu is move around your Uke. Do not move too far away or too close.
Maintain the right amount of distance.
When executing the techniques of the Gyokko Ryu keep within 36 cm of your opponent. Keep the flow in a
circular motion, and do not stop and start as in Karate.
It is important that you should focus your eyes on a point at infinity behind your opponent's head. You should
be aware of everything around you, other attackers, obstacles, terrain etc., not just the enemy in front of you.
When Tori moves to avoid the incoming punch, the right foot faces the direction that Tori travels in. Hide this.
KAMAE
Ichimonji No Kamae
The left leg is forward with the toes pointing slightly inwards, the right foot points outward and carries 60% of
the weight. The left hand is open and pointing at your opponent with a slight bend in the arm, the right hand
is closed with the thumb up and resting on the inside of the left elbow.
Hicho No Kamae (Hidari) (Single crane posture)
The left foot is on the right leg at knee height with the left knee protecting the groin. The left hand is open and
pointing at your opponent with a slight bend in the arm, the right hand is closed with the thumb up and
resting on the inside of the left elbow.
Jumonji No Kamae (Hidari) (Cross posture)

Both feet are about shoulder width apart with the knees bent. The left arm is crossed in front of the right, both
hands are closed with the thumb up.
Shoshin no kamae
The left leg is forward with the toes pointing forwards, the right foot points outward and carries 60% of the
weight. The left hand is open and pointing at your opponent with a slight bend in the arm, the right hand is
closed with the thumb up and resting on the right hip.
Hanin no kamae
Left leg is forward with the toes pointing slightly inwards, right foot points outward and carries 60% of the
weight. The left hand is pointing at opponent with the middle and ring finger held by the thumb, with the
pointer and little finger pointing forwards. The right hand is slightly above and to the side of the right ear with
the middle and ring finger held by the thumb and the pointer and little finger pointing upwards with the palm
towards your opponent.
Kime No Kamae
Grab your opponents left lapel the right hand and his right sleeve with the left hand.
WAZA
Uke is in Daijodan and cut to the lead leg. Tori is in Ichimonji no kamae, and raises to Hicho no Kamae. Uke
then cuts down with Jodan Kiri. Tori steps forward with the left leg, an turns to the right to face the sword in
Jumonji no Kamae.Uke then does a horizontal cut. Tori steps back with the left leg dropping the arms to the
side of the body.
Sanshin No Kata (Form of the three hearts)
Chi No Kata (Earth form)
Tori steps back to Soshin no kamae. Dropping his weight slightly on the right leg, Tori steps forward with the
right foot, and brings the right hand up in Sanshitan ken, passing past the knee to strike up, finishing at
shoulder level.
The hand must not alter course, and moves like a penduleum. The feet must change direction.
Sui No Kata (Water form)
Tori steps back to Soshin no kamae, and steps back to the right 45 degrees with a left Jodan Uke. Stepping
forward with the right foot, Tori strikes with Omote Shuto to Uko.
The Shuto in this strike is a "Killing Strike". Practice first moving without the feet.
Ka No Kata (Fire form)
Tori steps back to Soshin no kamae, and steps back to the right 45 degrees with a left Jodan Uke. Stepping
forward with the right foot, the right hand rises up from the Obi to come from underneath the left hand. Tori
then strikes with Ura Shuto to Uko.
Destroy Ukes posture then you can move him anywhere you wish.
Fu No Kata (Wind form)
Tori steps back to Soshin no kamae, and steps back to the right 45 degrees with a left Gedan Uke. Stepping
forward with the right foot, Tori strikes with a Gedan Shito Ken to Koe.
Trick Uke with the extension of the strike soon after the extension of the strike to max level. Bend the right
knee extra. Try to strike with the whole momenteum of the body not just the Shito Ken. If Uke kicks, the
Gedan uke is to move Uke out of the way gently. A Tanto can be drawn from a boot, without Uke seeing.
Move as if cutting like the wind.
This rises from underneath the same way the plants grow from the soil. The Fu no kata symbolises moving
things out of the way.
Ku No Kata (Void form)
Tori steps back a little with the right foot, and does a left Gedan Uke. At the same time Tori lifts the right
hand (open) above the head. Tori then does a right Sokuyaku Keri.
The Gedan Uke can block either a kick or a punch, use Chosui Dori. In ku, the raised hand is for balance.
When doing the kick in Kumite it is used like a glove to catch a baseball.

Taihen Kihon (Basic body movement)


Tori is in Hira no Kamae. Uke cuts at Tori. Tori steps back to a Ichimonji (leaning back) and then does a Ashi
Nagare.
Tori is in Hira no Kamae. Uke cuts at Tori. Tori steps back to Ichimonji no Kamae, then does either a Jun or
Gyaku Nagare to the rear.
Tori is in Hira no Kamae. Uke cuts at Tori. Tori steps forwards with the left foot, then turns to face the sword.
Tori then does a Koho Kaiten.
Taihenjutsu Muto Dori Kata (Body movement defense against swords)
Hira No Kamae (Flat stance)
As the Uke steps forward with a vertical sword slash, Tori moves from hira back into hidari ichimonji to avoid
the cut. Tori then pivots to the right and does a right shoulder roll, rolling away in the direction of Uke's
advance.
If a long Tachi is used, a greater distance is needed. The step back to Ichimonji is greater. Be careful to see
the distance between you and the sword. This sort of training is a most important part of Taihenjutsu.
Ichimonji No Kamae (Letter One stance)
From hidari ichimonji, Tori dives forward and to the right under Uke's vertical sword slash, to end up behind
Uke. As Uke turns and approaches with a second cut, Tori steps forward with the right foot, and with the left
knee on the ground, applies a right shito ken thumb drive fist to the solar plexus while sheltering himself with
the left forearm.
Jumonji No Kamae (Cross stance)
Tori uses Shi Ho Tobi four-directional leaping method from the jumonji offensive posture to avoid Uke's
sword slash. As soon as the blade is cleared, Tori springs back at Uke with restraining grabs and counter
strikes.
Henka
Jump out then jump back in, the Shuto to the neck is to the rear and side
Ki Kata (Basic foundation patterns)
Migi Ichimonji No Kamae
Tori stands in migi ichimonji no kamae. Uke strikes left jodan tsuki. Tori steps to the inside and blocks with a
right fudo ken to hoshi. Tori then steps forward with the left foot and applies a left omote shuto to Uke's uko
or kasumi.
Hidari Ichimonji No Kamae
As above, on opposite side.
Hidari Hicho No Kamae
Tori stands in left hicho no kamae. Uke steps in with a right chudan tsuki. Tori sinks down and does a left
downwards block (right past his body) to nagare. Tori lifts his body up and left to kick to Uke's butsumetsu or
armpit. After the kick, the foot lands on the spot and Tori steps forward with his right leg , striking Uke's Uko
with a right ura shuto.
Migi Hicho No Kamae
As above, on opposite side.
Jumonji No Kamae
Tori stands in jumonji no kamae. Uke strikes right jodan tsuki. Tori steps inside the punch and does a left
block to hoshi. Tori then rocks forward, thrusting a left boshi ken into Uke's right butsumetsu or armpit, then
strikes to Uke's eyes with the left hand (this can only be a feint). Uke steps forward and punches left jodan
tsuki. Tori blocks, does boshi ken and metsubushi as before but on the opposite side.
Torite Kihon Gata (Basic grab creation methods)
Migi Omote Gyaku (Right outside twist)
Uke does a left grab to mune. Tori steps back left, covering Uke's hand with his right hand, with his thumb
between Uke's hand and Tori's chest. Tori then steps up to his right foot with his left, releasing Uke's grip

and raising his hand while doing left metsubushi. Tori takesUke's hands with boh hands (and placing his right
thumb in the centre of the back of Uke's hand). Tori finishes by stepping back with his right foot, applying
omote gyaku, taking Uke directly down.
-Henka
Instead of stepping out to the side, Tori steps back with the left foot, pulling Uke to the ground. Also continue
with Uzimaki
-Henka
Bend the knees, and lift the hand above the head, step out to the side to throw.
Grabbing his hand is related to tradition. When stepping back step so that you are side on to Uke. When
holding the hand in Omote Gyaku, place Yubi (thumb) into the Omote Gyaku Kyusho (middle of the back of
the hand).
Hidari Omote Gyaku
As above, on opposite side.
Migi Omote Gyaku Henka
Uke does a left grab to mune and a right punch. Tori covers Uke's grabbing hand with his right hand. As Uke
punches, Tori steps back to the right and does a left block to Uke's hoshi. Tori then steps forward with his
right foot to the outside, releasing Uke's grip and extending Uke's arm to the side while the left hand sweeps
across Uke's eyes. Tori keeps walking past to take Uke down with omote gyaku (Uke's arm should be
extended).
Hidari Omote Gyaku Henka
As above, on opposite side.
Migi Ura Gyaku (Right inside twist)
Uke does a left grab to mune. Tori covers Uke's grabbing hand with his right hand, then steps back right
while sweeping his left hand across Uke's eyes (metsubushi), and taking the grabbing hand from above. Tori
then steps up to his left foot with his right, releases Uke's grip and twists Uke's hand upwards. Tori continues
to twist Uke's hand in ura gyaku downwards as he walks forwards.
Hidari Ura Gyaku
As above, on opposite side.
Migi Jigoku Dori (Musodori) (Right hell capture)
Uke grabs Tori's right sleeve with his left hand. Tori steps back to the right (into a kind of an ichimonji no
kamae), with his right palm on Uke's left elbow, and rolls Uke's arm over (locking his wrist and elbow on the
crook of Tori's elbow). Tori then shifts his weight onto his front, pushing Uke upwards and backwards to the
point where his body wants to come forward. Tori does a right pushing kick to the outside of Uke's left knee,
taking him down with the kick and the armlock, and pinning Uke down with the shoulder / arm lock.
When you are in Muso Dori it is important that you are side on at an angle to Uke. Point with your knee. If
you face him in Muso Dori place the heel behind his knee.
Hidari Jigoku Dori (Musodori)
As above, on opposite side.
Migi Musha Dori (Right capture the warrior)
Uke grabs Tori's right sleeve with his left hand. Tori steps forward to the right, pushing Uke's arm backwards,
and steps around so that he is parallel to Uke. Tori then sinks down, and raises back up, applying musha
dori with his hands clasped together. As Tori tightens the lock, he does a right kick to the side of Uke's knee,
then goes down onto his left knee (opposite knee to the musha dori practised in kihon happo) as he takes
Uke down.To finish, Tori secures Uke.
Hidari Musha Dori
As above, on opposite side.
For the techniques - If he is strong use the body more, drop the weight. He does not need to let go of the
jacket for you to be able to complete the technique.
Omote Kote Gyaku
When one is being held in kumiuchi (as in Judo), never hold any part of the opponent's body or clothing.
Place the left hand's thumb nail into the back of the opponents right hand, stepping backwards and lifting his
hand above the opponents head, with the palm facing away. Then place the right hand onto the opponent's

raised hand and apply pressure to take down.


Ura Kote Gyaku
As one is held in kumiuchi, place the left hand on the opponent's right hand with the fingers pointing up.
From here, step back with the left leg and simultaneously place the right hand over the opponent's right,
digging the thumb nail into it. Move backwards with the right leg, bringing the opponent to the ground by
twisting his wrist and applying pressure to it with the other hand. A variation of this is to apply pressure to the
opponent's elbow.
Oya Goroshi
As the opponent holds the gi in kumiuchi, gently place the left hand under the opponent's right hand (which is
holding the lapel) with the thumb on the outside and all the other fingers on the inside. Step backwards with
the right leg turning the body to the side, thus straightening the opponent's arm. Then place the right hand on
the opponent's thumb and use the palm to bend it.
Ko Goroshi
As the opponent holds the gi in kumiuchi, hold the hand with the left in the same way as with oyagoroshi.
Then sink the thumb's nail into the base of the nail of the opponent's little finger so as to release his grip.
Once released, apply pressure by trying to put the tip of the little finger to it's second joint while encasing it in
the hand. Finally, hold the little finger firmly and bend it backwards.
Omote Gyaku Kimewaza Roppo
First put the opponent on the ground by using omote gyaku then do the following (opponent on his back after
a left handed omote gyaku):
Place the right foot under the opponent's armpit and lock the elbow.
Step on the side of the opponent's face with the right foot and lock the elbow over the leg.
Step on the opponent's rib cage with the left foot and lock the elbow over the leg.
Kneel on the left knee, keeping the right leg straight, pushing the rib cage with the foot, and keeping the arm
straight with the palm facing up, finally putting the body weight on the wrist.
Bend the opponent's arm at the elbow so that it is perpendicular to the floor and place the right knee onto the
middle of the upper arm, while twisting the hand in an anti-clockwise manner.
From here do a zenpo kaiten.
Ura Gyaku Kimewaza Roppo
First put the opponent on the ground by using ura gyaku and then do the following (opponent is on his front
after a right handed ura gyaku):
Grasping the hand firmly, kneel with the right leg, keeping the left leg straight so that the foot is pushing the
opponent's arm straight, and place the body weight onto the back of the opponent's hand, bending it at the
wrist.
Maintaining the opponent's arm straight, place the right foot under his wrist, while keeping it bent and lifting
the toes a little. Then kneel on opponent's elbow.
Place the right knee on the side of the opponent's trunk from under the arm and put the body weight onto it
while locking his arm with the right shoulder (facing opponent's feet).
Bend the opponent's arm by holding the elbow with the right hand and sliding the left hand under his forearm
and catching his shoulder with it.
Lie on the opponent's back, catching both of his arms with the forearms from above.
From here do a koho kaiten.
Ganseki Nage
As the opponent holds one in kumiuchi, place the hands on the inside of those of the opponent. Step forward
with the right leg , moving the right arm under the opponent's elbow and bending one's arm so that the hand
is next to the ear, keeping it open. At the same time take hold of the opponent's other elbow. Step in front of
the opponent's right leg with the right foot and twist the body to the left, reaching to the left foot with the open
hand, thus taking the opponent to the ground.
Ganseki Otoshi
This technique is used when one fails to complete ganseki nage. If the opponent resists the ganseki nage,
then place the right foot in front of the opponent's left and slip it backwards allowing oneself to lean forward.
This should sweep the opponent's left leg backwards. During training release the opponent's right hand so
that he can do a zenpo ukemi.
Ganseki Ori
Another way of putting the opponent on the ground if one is unable to do so with ganseki nage is by using

ganseki ori. Instead of twisting the body to the left, place the right foot behind the opponent's right and lock
the knee back while leaning the body, thus snapping the opponent's leg if done properly.
Goja Dori
This technique, also called musha dori, together with ganseki are traditional forms of fighting when wearing a
"Yoroi" (armour).
As the opponent holds one in kumi uchi, place the hands inside his. Move forward while moving the right
hand over his elbow from the outside and turning it back in, under the elbow. The elbow should now be bent
with the right forearm under it. Clasp the right hand from underneath with the left hand, keeping both wrists
straight, and raise them towards one's chest, thus securing the opponent. To bring down, kick to the "kobura"
nerve point (the muscle just under the back of the knee).
Omote Taki Ori
As the opponent reaches to catch one's lapel, hold his wrist from above with the thumb and middle finger
and push the base of one's palm upwards under his armpit, so as to bend his wrist. Repeat to the opponent's
other hand and turn the body to the side placing one foot in front of both of the opponent's feet. Lower the
hand opposite that foot, raising the other, while twisting away, thus bringing him to the ground.
Ura Taki Ori
Again, as the opponent reaches for the lapel, taking hold of the wrist from the inside with the thumb and
middle finger while keeping the index finger straight. Pressure the opponent's wrist with the index finger and
raise his hand. Do the same with the other hand and turn away from the opponent, placing one foot in front
of both of his feet so as to bring him down.
Hon Gyaku
The beginning is done in the same manner as ura kote gyaku, but turning the opponent's hand until his palm
is in a vertical position and straighten his arm. Then place the free hand over the holding hand with it's little
finger placed on the little crevice of the opponent's wrist. Finally turn the opponent's hand towards him,
keeping it vertical, to put him to the ground.
Katate Zeoi
As the opponent holds one in kumiuchi, hold the wrist that is holding the lapel, from above with the right hand
and turn the body under his arm from the outside so that his elbow is locked straight on one's chest. pull his
arm diagonally down and straighten one's free hand in front of the opponent.
Ryote Zeoi
This is basically the same as katate zeoi, however one must catch both of the opponent's wrists before
turning the body under his arms and also twisting both of the wrists together.
Omote Oni Kudaki
As the opponent holds one in kumiuchi, never hold onto him in any way. Place the right elbow to the
opponent's chest with it's hand going under his right upper arm, while placing the left over the opponent's
right forearm. Then clasp both hands together, turning the body away from the opponent, thus bending his
elbow, and continue to turn to bring him to the ground. Once there, lift his arm up so that the upper arm is
perpendicular to the floor and his forearm horizontal. To restrain, straddle the opponent, catching the free
hand with the right foot, then turn the arm.
Ura Oni Kudaki
From kumiuchi, place both hands inside his, then placing the right elbow to the opponent's shoulder, pushing
it gently. Entrap the opponent's arm by circling the right hand around it, bending his forearm at the elbow,
while holding onto his wrist with the left and his elbow onto one's chest. Finally, place the right leg behind his
and bring to the ground. Then restrain.
Muso Dori
As the opponent holds one in kumiuchi, turn the right arm in an anti-clockwise manner, with the hand
traveling under his left forearm, turning it. Take hold of his sleeve at the elbow, having left hand trapped
between one's right upper arm and forearm. Place the left hand on the right and push down onto the elbow.
O-Gyaku
Once again the opponent holds one in kumiuchi. Entrap the opponent's left arm as in ganseki, releasing his
right arm and lever his left arm to bring him to the ground with the help of one's left hand. Once on the
ground, push his forearm forward with the upper arm. Finally, restrain by straddling the opponent, holding his
free hand with the right foot and use the body weight to restrain.

Sanshin No Kata (Shoshin Go Kei Gogyo No Kata) (Form of the three hearts)
Chi
Uke is in ichimonji no kamae, Tori is in shizen no kamae. Uke strikes migi jodan tsuki. Tori moves back 45
degrees with right leg and lets right arm swing back while left arm points at Uke. Tori then steps forward with
right leg as his right arm swings forward and up to strike Uke's uko with nishitan ken or sanshitan ken.
Sui (Mizu)
Both Uke and Tori are in ichimonji no kamae (Tori with right fist on hip). Uke strikes migi jodan tsuki. Tori
moves back 45 degrees with right leg and blocks left jodan uke to the inside of Uke's arm. Tori then steps in
with right omote shuto to Uke's uko.
Ka (Hi)
Both Uke and Tori are in ichimonji no kamae (Tori with right fist on hip). Uke strikes migi jodan tsuki. Tori
moves back 45 degrees with right leg and blocks left jodan uke to the inside of Uke's arm. Tori then steps in
with right ura shuto to Uke's uko.
Fu (Kaze)
Both Uke and Tori are in ichimonji no kamae (Tori with right fist on hip). Uke strikes migi chudan sokugyaku.
Tori moves back 45 degrees with right leg and blocks left gedan uke to the inside of Uke's leg. Tori then
steps in with right upward swinging fudo ken or koppo ken to Uke's gorin.
Ku
Both Uke and Tori are in ichimonji no kamae (Tori with right fist on hip). Uke strikes migi chudan sokugyaku.
Tori moves back 45 degrees with right leg and blocks left gedan uke to the inside of Uke's leg. Tori then
raises his open right hand above his head to draw Uke's attention and then strikes right sokuyaku to Uke's
gorin
Ku No Kumite
Uke attacks with migi jodan shikan ken (or fudo ken). Tori goes back and blocks with his right hand with an
uke naga shi. Then pull Uke's hand between Uke's legs and turn at the side of the body. Check the back of
Uke's knee with your own knee. This is a Ku variation and an example of kumite no kata.
Jo Ryaku No Maki (12 techniques against unarmed attacks) (Upper principle scroll)
Kokuu (Empty sky)
Uke and Tori stand in hidari ichimonji no kamae. Uke steps forward with right jodan punch. Tori steps out to
the right (inside), and does a left block. Tori then shifts his weight forward and does a right omote shuto to
Uke's right hoshi or jakkin (from below). Uke kicks with his right foot. Tori steps yoko aruki with his right foot
to the outside of the kick and does a left keri kaeshi to Uke's kicking calf. As Tori lands, he strikes Uke's
butsumetsu with a left boshi ken (from above).
Henka
Uke attacks as before. Tori does block and shuto as before. As Uke kicks, Tori shifts to the outside of the
kick (left leg leading, and pull the right leg up to it) and strikes to Uke's right sai (outside) with his left knee.
Tori then extends his left leg to kick away Uke's supporting leg (at the knee).
Henka
Both Uke and Tori start in ichimonji no kamae. Uke attacks with migi jodan tsuki shikan ken to ganmen
(face). Tori blocks jodan uke to the inside of Uke's arm with ken kudaki and follows with omote shuto with the
right hand to Uke's right hoshi (elbow). Uke attacks with migi sokugyaku to Tori's gorin (stomach). Tori steps
to the left and applies keri kaeshi to the side of Uke's knee or thigh and follows with a left boshi ken to
butsumetsu or the kidneys.
Renyo (Giving a Ride)
Tori and Uke stand in hidari ichimonji no kamae. Uke steps forward with a right jodan punch. Tori steps out
to his left (outside) and does a right block. Uke does a right kick. Tori avoids to the outside of the kick and
applies a right keri kaeshi. Uke grabs Tori's mune with his right hand. Tori covers Uke's grabbing hand with
his left hand, and steps to the left (to the outside) and strikes with a right ura shuto to Uke's uko (with weight
change). Tori's right hand then returns to take hold of Uke's grabbing hand in ura gyaku, helping to apply the
lock with his left hand under Uke's elbow (weight changing to Tori's right to bring Uke's balance forward).
Tori then changes to omote gyaku, kicking Uke in the chest. Tori's kicking leg lands behind Uke to take him

down with omote gyaku / o soto.


Henka
When Tori takes Uke down with omote gyaku, Tori steps behind Uke's legs with his right foot, strikes with his
hip, and applies the omote gyaku to send Uke over Tori's hip.
Henka
Tori and Uke are both in ichimonji no kamae. Uke attacks with hidari jodan tsuki to ganmen (face). Tori steps
out at 45 degrees to the right and blocks with ken kudaki to the outside of Uke's hoshi (elbow). Uke follows
up with a right sokugyaku ken, Tori defends with a right fumi komi keri kaeshi. Uke grabs Tori's lapel with the
right hand. Tori takes hold of Uke's right wrist and steps in on the right with ura shuto to uko (neck). While
still holding Uke's wrist, step in with the right leg, apply hon gyaku, follow up with a right sokugyaku to
sternum or shinchu (heart).
Danshu (Projectile hand)
Tori and Uke stand in shizen no kamae. Uke grabs Tori's right sleeve with his left hand and does a right
jodan punch. Tori responds by stepping to the right, blocking with a left fudo ken to hoshi and rolling his
grabbed hand in an ura gyaku movement (Tori's palm on Uke's elbow). Tori then shifts his weight forward
onto his left leg and does a left ura shuto to Uke's uko, then applies ura gyaku to Uke's grabbing hand. Tori
finishes by doing a right kick to Uke's soto kaku and takes him down. Secure.
Henka
After blocking and rolling Uke's arm over, Tori does a left shako ken to Uke's ganmen then reaches over with
his left hand to grab some flesh on the back of Uke's grabbing upper arm. Tori then steps back left (down to
his left knee), taking Uke down directly with O gyaku.
Henka
Uke grabs Tori's right wrist with his left hand and steps in with the right foot to strike with shikan ken to Tori's
face. Tori steps 45 degrees out with the right leg, rotates his wrist downwards to press Uke's hand on his
body and blocks with fudo ken to the inside of Uke's arm then ura shuto to the neck with the left hand and a
kick to the inside of Uke's knee with the right heel.
Danshi (Projectile fingers)
Uke grabs Tori's mune with the left hand and does a right jodan punch. Tori covers Uke's grabbing hand with
his right hand and steps out to his right, blocking with the left hand to Uke's hoshi. Tori then shifts his weight
onto his front (left) leg and simultaneously applies a left boshiken to Uke's butsumetsu and twists Uke's
grabbing hand in an omote gyaku movement. Tori does a right kick to Uke's left butsumetsu and applies
omote gyaku to take him down.
Henka
Uke grabs Tori's right lapel with his left hand. Tori holds Uke's grabbing hand with his right hand. Uke attacks
with right jodan fudo ken. Tori blocks with left jodan uke followed by left boshi ken to Uke's butsumetsu then
kicks Uke's left leg with his right to take down. Finish by lifting Uke's left arm and stamp on the side of his ribs
with a left sokugyaku.
Saka Nagare (Gyaku nagare) (Reverse flow)
Tori stands in left ichimonji no kamae, Uke strikes with a right punch. Tori steps to the outside (left) and does
a right block to the back of Uke's hand. Uke then does a right kick. Tori responds with a right keri kaeshi
(being careful not to push Uke too far). Tori then grabs Uke's right hand with his left in preparation for omote
gyaku. Uke does a left punch to Tori's suigetsu. Tori responds with a right fudo ken to Uke's left nagare
followed by a right ura shuto to yugasumi to straighten Uke's arm. tori then takes him directly down with
omote gyaku.
Henka
Tori stands in left ichimonji no kamae. As Uke comes in to punch, Tori shifts slightly to the outside and does
a right punch to Uke's armpit (this technique is using some kind of weapon, ie. a pen, small stick etc. The
punch to Uke's armpit actually makes contact with the full length of Uke's arm, cutting or scraping the whole
arm). Tori then grabs Uke's (now useless) right hand with his left in preparation for omote gyaku and pulls
downward and to Uke's right to open Uke's body up. As Uke attempts a left punch to Tori's face, Tori ducks
under it and then strikes upwards with weapon to the underside of Uke's arm (hoshi or jakkin). Tori then
takes Uke down with omote gyaku.
Henka
Uke grabs Ryote to Tori's mune and attempts a knee kick to Tori's suzu. Tori covers by bringing his right
knee up (left 45 degrees). As his foot lands forwards, Tori takes Uke's right hand in preparation for omote
gyaku. Tori does a right ura shuto to Uke's right yugasumi then hooks his fingers over the right-hand part of
Uke's collar bone and takes him down.
Henka
Uke and Tori in ichimonji no kamae. Uke strikes right shikan ken to the stomach. Tori steps 90 degrees to
the outside and takes hold of the hand with the right hand. Uke applies sokugyaku keri with the right foot to

Tori's stomach, Tori applies keri kaeshi and changes grip from the right to the left hand. Uke strikes fudo ken
to the solar plexus or the heart. Tori blocks with gedan uke, steps in with right ura shuto to the neck. Finish
with omote gyaku to the right hand.
Keoh
Uke grabs ryote to Tori's mune. Tori responds with a right kick to Uke's suzu (leaning the body back slightly
to straighten Uke's arms). Tori then rocks forward, either striking the backs of both of Uke's hands with
shikan ken, or striking both of Uke's nagare with shikan ken (The strike to the backs of the hands works
better with some kind of weapon, ie. a pen or short stick. Striking nagare is more effective when you are
unarmed.). Tori finishes with a right kick to Uke's suigetsu.
The strike to the hands should strike downwards with a kind of cutting motion. The strike to nagare strikes
horizontally inwards.
Henka
Uke grabs Tori's lapels with both hands (ryote dori). Tori applies ryote shikan ken to the back of the hands in
a sweeping motion and at the same time a sanshin motion kick to the groin. Uke strikes with a right jodan
tsuki to the face. Tori blocks with fudo ken to the inside of Uke's elbow, step in with the right leg and ura
shuto to the temple followed by a kick to the stomach.
Hane bi (Leaping blame)
Uke grabs Tori's collar from behind with his right hand and pulls. Tori reaches over his shoulder with his right
hand to touch Uke's grabbing hand (do not grab, just use your hand as a sensor). Uke does a right kick. Tori
steps over to the left to avoid the kick to the inside and turns to face Uke, doing a left gedan block. As Tori is
turning in to face Uke, Tori takes Uke's grabbing hand and brings it over his head in ura gyaku, bringing it
down and forward to bring Uke's balance forward (helping to apply Tori's left arm on Uke's elbow). Tori
simultaneously changes to omote gyaku and kicks Uke in the chest or face to take him down.
Henka
Uke grabs Tori from behind with the right hand on the collar. Tori's right hand presses on Uke's right hand
and turns to face the attacker. Uke kicks with the right leg. Tori blocks with gedan uke, as he leans to the
right grab the little finger and the ring finger, raise the hand up and shift to omote gyaku. At the same time,
apply a right sokugyaku geri to Uke's face, stomach, or breast.
Ketoh (Imperial fall)
Tori stands in left ichimonji no kamae. Uke does a right kick. Tori steps to the outside and kicks to the back
of Uke's calf. Uke stops Tori from kicking him by pulling his foot away, and lands forward, punching to Tori's
face. Tori steps to the inside and does a left block. Tori then shifts his weight forward onto his front (left) leg
and does a right shako ken to Uke's face (aim your thumb at Uke's asagasumi, and your fingers will naturally
go into his eyes). Tori finishes with a right kick to Uke's butsumetsu.
Henka
Uke strikes with a right jodan tsuki. Tori follows the punch (uke nagashi). Uke kicks with a right sokugyaku
keri. Tori applies a right keri kaeshi. Uke sees the kick coming and pulls back the leg and strikes instead with
gedan fudo ken with the right hand to Tori's stomach. Tori moves 45 degrees to the right and blocks with left
gedan uke, follow with a goshitan ken to the face and a kick to the heart.
Yubi Kudaki (Break the finger)
Uke grabs Tori's collar from behind with the right hand. Tori holds Uke's right hand with his right hand and
turns left to face Uke. Tori then punches with a right fudo ken to Uke's kimon or butsumetsu. Tori brings
Uke's right hand over his (Tori's) head to Tori's front, applying a hon gyaku / ura gyaku with his right hand,
making the lock tighter by putting downward pressure on Uke's forearm with his left arm. Tori takes Uke
directly down.
Henka
Uke grabs as before. Tori bends his body forwards so that he can take hold of Uke's little finger instead of
just the hand (use the thumb nail on Uke's little finger). Tori takes down as before.
Henka
Uke grabs as before. Tori holds Uke's right hand with his right, turns in towards Uke and steps on Uke's right
foot with his left, then does a left punch to Uke's face. Tori changes his left arm position in preparation for
ganseki, and takes Uke down directly using the arm and the foot.
Henka
Uke grabs with the right hand from behind on the collar. Tori's right hand goes over Uke's right hand, press
and step out 45 degrees with the right leg. Execute a left fudo ken to Uke's head, grab Uke's fingers with the
right hand. Go under Uke's arm and apply hon gyaku on his fingers.
Ketsu miyaku (Squeeze the wrist)
Uke applies a right sankaku jime (sankaku jime is a very dangerous choke. You must get into the habit of

lowering the chin to one side as soon as you feel the opponent starting to apply the technique - this will
lessen the effectiveness of the choke) Tori lowers his weight and holds Uke's right hand with his left, and
applies pressure to Uke's right hoshi with his right thumb. Tori twists his head out of the lock and takes Uke
down with the hold he has on Uke's arm.
Henka
Uke applies a right sankaku jime as before, Tori drops his weight and kicks with his left heel to Uke's right
uchi yaku as he turns in to Uke. Tori's leg lands beside Uke's right leg. From here, Tori takes Uke down with
pressure to the side of his knee.
Henka
Uke applies a right sankaku jime as before. Tori drops his weight. Tori takes Uke's right thumb with his left
hand and Uke's hoshi with his right hand. Tori releases Uke's grip, pushes his right leg backwards between
Uke's legs, and throws Uke with ippon zeoi.
Henka
Uke applies a strangle from behind with the left forearm (sankaku jime). Tori turns the chin towards the hand
and grabs wrist with the left hand. Strike with boshi ken to Uke's armpit and push up on the elbow. Boshi ken
to the wrist nerves, finish with seionage.
Henka
Uke applies a strangle from behind with the right forearm (sankaku jime). Tori turns his chin towards Uke's
right elbow and holds Uke's right hand with his left and Uke's right elbow with his right hand. Tori applies
pressure to Uke's right wrist and seitaku kyusho points to lever the arm away from his neck. Tori straightens
Uke's right arm and then throws him to the ground with seionage.
Tei ken (Squeeze and strike)
Uke attacks Tori from behind with tai jime. Tori simultaneously strikes backwards with his head to Uke's face,
and strikes backwards with his hips. Tori then steps to the side and stamps on one of Uke's feet. By bending
Uke's fingers back, Tori brings Uke's arms up, while sinking out of Uke's grip. Tori applies a crossed,
straight-arm lock with Uke's arms on Tori's shoulder, and throws Uke either by taking Uke's back leg with his
foot, or by walking forward.
Henka
Uke grabs Tori in a bear hug (Tai jime) also covering the arms. Tori drops the body, a short step to the left,
grabs Uke's hands and pulls them outwards. Step back to the left with the right leg, fudo ken to the face.
Continue the movement and finish with genseki otoshi.
Sakketsu (Satei) (Killer squeeze)
Uke attacks from behind with a full nelson. Tori simultaneously strikes backwards with his head to Uke's
face, and backwards with his hip to break Uke's grip (do this with the feeling of doing a koho tobi, for great
effect). Tori lifts Uke's right hand with his right hand, as he steps out to the right striking Uke's face with the
back of his left fist. Tori then puts his left arm under Uke's right arm to throw him with ganseki (not allowing
Uke to roll). Secure.
Henka
Uke attacks with Tai jime (bear hug) from behind. Tori drops his body weight. leans forward and grabs at
hand / fingers and pushes them outwards. Step out left with the right foot behind the left (yoko aruki). Keep
hold of the hands so Uke's arms are crossed and walk to drop the attacker.
Doko
Tori is in Ichimonji no kamae, Uke is in Doko no kamae. Uke strikes with shikan ken, Tori moves backwards
45 degrees and strikes with jodan uke. Tori steps forward with the right foot and applies omote / ura shuto to
Uke's neck.
Hicho
Tori is hicho no kamae, Uke is in Doko no kamae. Uke strikes with chudan shikan ken. Tori applies left
gedan uke and clears the attack out of the way opening up the body, Tori then does a left sokugyaku geri to
armpit or butsumetsu. Left leg drops down and also backwards, step with right leg. Right ura shuto to neck.
Jumonji
Tori in Jumonji, Uke in Doko. Uke strikes with right shikan ken. Tori steps back 45 degrees on the right, left
chudan uke. Left boshi ken to the pectoral muscle. Uke strikes with a left shikan ken. Tori does a right
chudan uke then a right boshi ken to the pectorals. Finish in jumonji.
Omote Gyaku
Uke grabs Tori's left lapel with the right hand. Tori takes a light hold of the hand and steps back on the right.
Right hand joins the left, step forward with the right foot and push Uke's hand into the air releasing the grab.
Step back on the left and apply a wrist lock (Omote Gyaku).

Omote Kote Gyaku Dori


Uke grabs Tori's lapel with the right hand and strikes with katate buri (roundhouse strike) to the head. Tori
steps back 45 degrees to the left and right jodan uke (important to keep head down in case block misses).
Right hand joins the left, step back on the left and apply omote gyaku.
Ura Kote Gyaku Dori
Uke grabs Tori's lapel with the right hand. Tori turns to the left and the right hand envelopes the attacking
hand. Turn back to face Uke turning the hand so that Uke's hand is upturned. Tori's left hand takes hold of
the elbow. Twist the little finger towards the face (Ura Gyaku). Important - keep the attacking arm horizontal
for a better lock.
Musa Dori
Tori and Uke hold each other right hand on lapel, left hand on the sleeve by the wrist (kime no kamae). As
Uke attempts to throw, Tori applies right boshi ken to the throat, The left hand releases the wrist and goes
over the top of Uke's arm and around so as to grip / lock Uke's arm. Make sure that the arm is bent at the
elbow. Lift the arm to apply the lock, right hand can assist. Can also be used to take down the opponent with
more pressure in the lock.
Chu Ryaku No Maki (8 techniques against Tanto or Kodachi). (middle principle scroll)
U Jaku (Black Magpie)
Tori stands in hidari ichimonji no kamae. Uke attacks with a right strike. Tori steps to his left (to the outside of
the attack), does a right block to the back of Uke's hand, and takes hold of Uke's wrist. Uke does a right kick.
Tori shifts to the outside of the kick and counters with a right keri kaeshi. (By this point Tori is standing
virtually behind Uke, holding Uke's right hand with his right hand.) Tori steps in with his left foot to strike with
a left boshi ken to Uke's kidneys (or strike under the back of Uke's ribs with an uppercut type shikan ken).
Tori then steps yoko aruki with his right foot to stand on Uke's right foot and raises Uke's right arm. Tori then
steps through with his left foot (Tori has his back to Uke, guarding him with his left elbow) applying omote
gyaku as he goes. Tori continues to twist Uke's hand down to his legs and then lifts up, throwing him.
Secure.
Henka
Uke does a right strike as before. Tori blocks but doesn't take Uke's hand (a Karateka will, for example, pull
back his fist after punching). Uke kicks and Tori does a keri kaeshi as before. As Tori pushes Uke's body
around, the natural reaction for many people would be to try and lash out with the right hand. As Uke strikes,
Tori takes hold of his arm / wrist and steps through as before (Tori strikes Uke's butsumetsu with his left
elbow as he goes). With Uke's arm on Tori's right shoulder, locked at the elbow, Tori puts pressure on the
elbow joint, changes to holding with his left hand and strikes Uke's right butsumetsu with his right elbow. Tori
then changes back to his right hand (grabbing Uke's thumb) and takes Uke down with omote gyaku as
before. Secure.
Henka
Uke attacks with right jodan tsuki. From hidari ichimonji, Tori moves to the right to block ura jodan uke with
either hand and then catches Uke's right wrist (with the thumb on the back of Uke's hand). Uke then attacks
with a right keri to koe and Tori defends with a right keri kaeshi. Tori then raises Uke's right arm and strikes
Uke's butsumetsu with a right boshiken using sanshin motion. Tori moves under Uke's arm (yoko aruki, right
over left) and applies omote gyaku, katate nage.
Seito
Tori stands in left ichimonji no kamae. Uke attacks with a right strike. Tori shifts to the inside of the punch
and does a left block to the inside of Uke's right wrist. Uke does a right kick. Tori steps to the left to the
outside of the kick and does a right block to Uke's yaku. Uke does a right strike to Tori's suigetsu. Tori steps
to the inside again and executes a left block to Uke's nagare (After blocking, Tori opens his hand so that he
has his hand, palm up, holding Uke's right wrist between his thumb and forefinger). Tori does a right shako
ken to Uke's face then takes hold of Uke's right shoulder with his right hand. Tori does a right kick to Uke's
suigetsu, and takes Uke down forwards with ogyaku (Tori drops down onto his right knee to do this). Secure.
Henka
As before, but after Tori kicks Uke's suigetsu, Tori half applies the ogyaku, bringing Uke's body forward, but
not taking him down. Tori does a right knee kick to Uke's face as he is bent forward, and steps behind Uke's
right leg, taking him down with seionage. (In reality, Tori would step to the side of Uke's leg, and take him
directly down with pressure to the side of Uke's knee. This is very dangerous.)
Henka
Uke attacks with a right jodan tsuki. From hidari ichimonji, Tori blocks left jodan uke. Uke attacks with right

keri. Tori steps out to the left and blocks with a right gedan uke followed by a fake right strike to ganmen. Tori
then grabs Uke's right wrist in ura gyaku with his left hand and Uke's right shoulder with his right hand. Tori
does a right sokuyaku keri to Uke's suigetsu and applies o gyaku as he steps back with the right leg onto his
right knee.
Da Shin (Pulling and Shaking)
Tori stands in left ichimonji no kamae. Uke steps in with his right leg, thrusting with a tanto. Tori avoids to the
outside by shifting his right foot around, and taking Uke's knife hand with his left (fingers up). Tori strikes
down onto Uke's gogoku with a right shuto to make Uke drop the knife. Uke kicks at Tori's suigetsu with his
left foot. Tori avoids to the left , and does a right keri kaeshi (still holding Uke's knife hand). As Tori's right
foot lands, he strikes Uke's knife hand with his right hand, breaking Uke's wrist with take ori / omote gyaku.
Tori continues the movement to take Uke down.
Henka
Uke attacks as before. Tori avoids and takes hold of Uke's knife hand as before. Instead of making Uke drop
the knife, Tori hits upwards with his right hand to Uke's knife hand, making Uke hit / cut his own face with the
knife (this strike resembles the swinging strike in Chi No Kata of Sanshin No Kata). Tori steps with his right
leg behind Uke's legs and takes Uke down with seio.
Henka
Uke attacks as before. Tori avoids as before, but takes hold of Uke's wrist with Tori's fingers downwards. Tori
takes Uke's knife hand with his right hand, and steps forwards (Tori keeps his elbows against his own body
for power), cutting Uke's butsumetsu area with Uke's knife, and lands with his right foot on Uke's right foot.
Tori steps out to the left slightly, and twists Uke's knife hand into position to stab Uke in the right kidney.
Using a weight change to his right, Tori stabs Uke's kidney, and as Uke begins to drop, Tori uses his right
knee against Uke's right knee to make Uke drop directly onto the knife.
When you take Uke's knife hand with your right hand, hold around the thumb so that he can't release his grip
on the knife. Also, by gripping in this way, no fingerprints are put onto the knife.
Henka
Uke with wakizashi, Tori in hidari ichimonji. Uke thrusts with sword. Tori moves back leg round to the outside
of the thrust, grabs the sword hand with his left hand, right shuto to hand to make Uke drop the sword. Uke
does left kick. Tori counter kicks with right leg and finishes with omote gyaku.
Hosen (Bee tip)
Uke has a Tanto, and raises it to Jodan no Kamae, and steps while cutting with Jodan kiri. Tori is in Ichimonji
no kamae, and ducks/moves to the left under the Tanto. As Tori raises his body straight, he kicks up with the
right foot, kicking the Tanto out of Ukes hand, and lifting his right arm up. With Ukes both arms up, and the
body open, Tori does a right open hand push (Gyokaku ken) to Ukes chest knocking him down. Tori then
jumps up, and onto Ukes chest.
Observe the flow of the Tanto. The duck and rise motion is Moguri Gata (Submerging pattern).
Henka
As Uke cuts with the Tanto, Tori, ducks, and moves to theleft under the Tanto, then kicks up with the right
hand,lifting Ukes hand high. As the foot comes down, Tori pushes Ukes chest with a right Gyokaku ken
(open palm strike). As Uke falls on to his back Tori jumps up onto Ukes chest.
Ko Rai (Koraku) (Tiger striking down)
Uke does a right jodan kiri with a tanto. Tori steps left from hidari ichimonji no kamae and catches Uke's right
wrist with his right hand. Tori then does a left ura shuto to Uke's kasumi, keep hold of Uke's wrist, and goes
under Uke's arm (omote to wrist) to throw Uke with katate nage. Tori finishes with a sokuyaku ken geri to
Uke's men.
Henka
Uke attacks jodan kiri with tanto. From hidari ichimonji, Tori steps to the left and catches Uke's right wrist
with his right hand. Tori then does a left ura shuto to Uke's kasumi. Holding Uke's wrist, Tori goes under
Uke's arm, applying omote to the wrist, to throw katate nage. Finish with sokuyaku ken geri to men.
Kou (Hanetsurube)
Tori stands in left ichimonji no kamae. Uke does a right jodan punch. Tori steps right (to the inside of the
punch) and does a left block. Uke kicks with his right foot. Tori avoids to the left, blocking with his right hand.
Tori then lowers Uke's right hand to the floor while lifting Uke's right leg (Tori uses his left and right hands
respectively for this) to throw Uke.
Henka
Uke with wakizashi, Tori in hidari ichimonji. Uke cuts down with the sword. Tori moves to the inside of the cut
and grabs Uke's sword hand with his left. Uke does right kick. Tori moves to the outside of the kick and
blocks gedan uke with his right arm, scoops kick upwards with the right arm to throw Uke down on his back.

Shien (Giant Monkey)


Uke attacks with right tsuki (tanto) koho. Tori moves to the inside of the thrust with his right hand on the
outside of Uke's arm, then grabs Uke's wrist with his thumb on the inside of the wrist. Tori steps with the right
foot in front of Uke and waits. Uke attacks with a right keri. Tori responds with a keri kaeshi to the right and
goes under Uke's arm to throw katate nage.
Henka
Uke with wakizashi, Tori in hidari ichimonji. Uke cuts down with sword. Tori moves under the cut and to the
outside, he then kicks up to Uke's sword arm with right leg and then strikes matsukaze with right shako ken
to knock Uke down. Tori then leaps to land on Uke's head with both heels.
Ho Ryaku (Destructive fall)
Uke stands behind Tori with wakizashi, Tori is in shizen. Uke thrusts with sword to Tori's back. Tori moves to
the inside of the thrust and raises his right arm so the sword goes between right arm and right side of Tori's
body. Tori then applies take ori to Uke's sword hand with both hands. Keeping hold of Uke's sword hand with
his left, Tori turns towards Uke and strikes shako ken to the face. Tori then grabs Uke's right shoulder and
spins round and down onto the left knee to throw Uke. Finish by stamping on the side of Uke's ribs with the
right heel.
Henka
Uke attacks jodan kiri koho with tanto. Tori moves to the inside of the cut and catches Uke's arm in a hug
with his right arm. Tori then applies take ori to Uke's knife hand, holds Uke's hand with the left and turns to
the right to strike Uke's kasumi with a right ura shuto. Tori finally applies ogyaku as he steps back with the
right leg onto the right knee. The right knee can stay up and the left knee can drop so that Uke's men hits
Tori's right knee as he falls.
Kou Gyaku
Tori stands in left ichimonji no kamae. Uke does a right jodan punch. Tori steps to the outside of the punch
and catches Uke's right wrist with his right hand. Uke then kicks with his right foot. Tori sinks down and
catches Uke's right leg on his left shoulder. From here, Tori can either apply leg ganseki or a left keri to Uke's
supporting leg.
Henka
Uke with wakizashi, Tori in hidari ichimonji. Uke cuts down with the sword. Tori moves to the outside of the
cut and grabs Uke's sword hand with his right hand. Uke does right kick. Tori moves to the inside of the kick
and blocks gedan uke with his left arm, scoops kick upwards with the left arm and turns to his right to throw
Uke with taijutsu, or, after scooping kick, does a right kick under Uke's right arm. Once Uke is on the ground,
Tori can attack Uke's right elbow or arm and right leg simultaneously. Finish with a jump back and kick
opponent with both feet.
Ge Ryaku No Maki Mutodori Gedan (8 techniques against Katana or Yari attacks). (Lower principle scroll)
Shun Uke (Corresponding hero)
Uke has ken in obi. He draws, Tori steps in with the left foot and his left hand jams and pushes back Uke's
right hand (that holds the sword). Tori then steps forward with his right foot and does ganmen dori, he then
pulls Uke's ken out of Uke's grip with the right hand and finishes with tsuki to Uke's suigetsu.
When you tsuki, the left hand is holding the ken by pressing on the side, blade up.
Henka
Tori steps with his right foot behind the left so that he is in to Uke's armpit, then does ganmen.
Henka
Same foot with step back. Uke has ken in his obi, he draws, Tori steps back with the left foot and jams Uke's
right hand with his left. Uke steps back and pulls ken, Tori keeps his left hand to Uke's right hand and steps
forward with his right leg to apply ganmen dori. Tori steps back with his right foot (maki) to apply musodori to
Uke's arm, then pulls ken away with his right hand and finishes with tsuki.
Henka
Uke with katana in scabbard, Tori in hidari hanin. Uke starts to draw his sword. Tori shifts forward to stop the
draw by pushing the pommel back into the scabbard with his left hand. Tori then steps in with a right fudo
ken to Uke's face, he then moves back and draws Uke's sword and thrusts it into Uke's gorin (with left hand
on sword spine). Tori then positions the sword under Uke's left arm and throws genseki using the sword.
Henka
Uke with katana in scabbard, Tori in hidari hanin. Uke starts to draw his sword. Tori shifts forward to stop the
draw by pushing the pommel back into the scabbard with his left hand. Tori then steps in with his right foot
behind his left so he is in close to Uke's armpit and applies ganmen dori.
Henka
Uke with katana in scabbard, Tori in hidari hanin. Uke starts to draw his sword. Tori shifts forward to stop the

draw by pushing the pommel back into the scabbard with his left hand. Uke steps back and pulls the sword.
Tori keeps his left hand on Uke's right hand and steps in with the right foot to apply ganmen dori. Tori then
steps back with the right (maki) to apply muso dori to Uke's arm. Finish by pulling away the sword followed
by a thrust.
Shun Soku (Corresponding limb)
Uke is wearing a sword in his obi, both Tori and Uke stand in shizen no kamae. As Uke attempts to draw his
sword, Tori steps in with his left and jams the butt of Uke's sword with his left hand. Uke strikes Tori's
jamming hand with a right ura ken, but Tori avoids by stepping out to the right and taking the bottom end of
Uke's saya, and lifting it so that it is locked against Uke's elbow or tricep. Tori takes Uke down and secures
him with his saya, finishing with a toe kick to Uke's butsumetsu.
Henka
Uke with katana in scabbard, Tori in hidari hanin. Uke starts to draw his sword. Tori shifts forward to stop the
draw by pushing the pommel back into the scabbard with his left hand, then steps in with a right shuto to
Uke's upper sword arm. Tori then moves and takes the back end of Uke's scabbard over the back of Uke's
left arm to apply tsuki iri with the scabbard. Finishing with a right sokuyaku.
Ichi Geri (First attack)
Tori stands in left ichimonji no kamae. Uke stands in seigan no kamae with katana. As Uke pulls back his
right foot and raises his sword into dai jodan no kamae, Tori does yoko aruki in towards Uke, controlling
Uke's right elbow with his left palm, and does a right boshi ken to Uke's omote kimon (Tori has his left leg
forward. Be sure that you don't finish up directly in front of Uke, but slightly to his right). Tori finishes with a
right kick to Uke's suigetsu or kage.
Henka
Tori does yoko aruki in towards Uke as before, controlling and doing the boshi ken as before. This time, Tori
does a simultaneous right kick to Uke's knee and pushes Uke backwards with the boshi ken to his omote
kimon.
Henka
Tori does yoko aruki in towards Uke as before, controlling and doing the boshi ken as before. Tori shuffles
forward a little more with the left foot, closing his distance with Uke and staring Uke in the eyes. Tori gives
Uke the chance to cut left to right, but keeps Uke under control. As Uke tries to cut, Tori shifts onto his left
foot, raises his right foot and takes Uke down with o soto gake.
Henka
Uke attacks with a jodan kiri. Tori responds with mogurigata and uses his left arm to jam Uke's right arm. Tori
then does a right boshiken to Uke's butsumetsu followed by a right sokuyaku ken keri, osotogari, or keri to
koe or suzu.
Kai Soku (Vanguard limb)
Tori stands in Hidari ichimonji no kamae. Uke cuts downwards from dai jodan no kamae. Tori steps out to the
left, and does a right kick to the fingers of Uke's right hand, landing on Uke's right foot. Tori covers Uke's
right hand with his left so that Uke can't draw his shoto. Tori does a right ura shuto to Uke's kasumi, and
applies o gyaku to Uke's right arm. Tori finishes by stepping behind Uke's legs to take Uke down with o soto
gake.
Henka
Uke is in daijodan with katana, Tori is in hidari hanin. Uke cuts down with sword. Tori moves to the outside of
the cut and kicks Uke's arms with his right leg. Tori then strikes right ura shuto to Uke's uko and takes down
with harai goshi. Finish by taking Uke's sword, cutting his neck as you do so.
Henka
Uke attacks with jodan kiri (two swords in his obi). Tori steps to the left to avoid the cut and applies a right
sokugyaku ken keri to Uke's hands. Tori then steps in with his left leg and uses his left hand to jam Uke's
right elbow. Uke then tries to draw his other sword, so Tori responds by striking Uke's kasumi with a right ura
shuto. Tori grabs as in o gyaku and applies sotogari to Uke's right side. (As your left hand traps and the right
strikes kasumi, you apply o gyaku, left hand goes in motion as if to apply muso dori and the right hand grabs
his right shoulder).
Ko Ryaku (Seize and squeeze over)
Tori stands in hidari ichimonji no kamae. Uke cuts downwards from dai jodan no kamae. Tori steps to the
right (inside), covering Uke's right wrist with his right hand (or left hand). Tori then shifts in with his left,
reaches over with his right arm and takes hold of Uke's right tricep. Tori then steps in with his right foot to the
outside of Uke's right foot, applying o gyaku to Uke's right arm, while Tori pushes his right foot forward (tate
nagare) to bring Uke down forwards. Tori finishes up on top of Uke, securing him.
Henka
Uke is in daijodan with katana, Tori is in hidari hanin. Uke cuts down with sword. Tori moves inside the cut to

jam / strike Uke's arms. Tori then holds Uke's arm and applies te makura. Finish by taking the sword and cut.
Iai Fu (Permentary thought)
Uke attacks with yoko kiri (left to right), Tori avoids koho. Uke attacks jodan kiri. Tori responds with moguri
gata, jamming with his left arm, and applies a right boshi ken to Uke's butsumetsu followed by a right keri to
Uke's koe or suigetsu.
Henka
Uke is in shizen with katana in scabbard, Tori is in shizen. Uke draws and cuts in one motion. Tori moves
back into hidari jumonji. Uke then raises sword into daijodan. Tori quickly takes two steps in, raising his left
hand to stop a possible downward, cut and strikes Uke's butsumetsu with a right boshiken. Finish with a right
sokuyaku and move back.
Chin Gan (Sinking wind goose)
Uke stands in seigan no kamae with katana. Tori stands in shizen no kamae. Uke attacks with tsuki (right leg
forward). Tori avoids to the left (his outside), striking Uke's gokuro with a left shuto. Tori takes Uke's hand
with both hands , moves around anti-clockwise, and takes Uke down with omote gyaku.
Henka
Uke comes in with a tsuki as before. Tori avoids as before. Tori controls Uke's right hand with his right hand,
and Uke's left hand with his left hand. Tori pulls on Uke's left and pushes on Uke's right, pushing the blade to
Uke's throat as Tori steps in and slightly right with his right foot. Tori breaks Uke's balance by pushing on the
throat then steps around with his right foot, taking Uke down with o soto gake (while still controlling the blade
on Uke's throat). Tori finishes Uke off by cutting his throat.
Henka
Uke comes in with a tsuki as before. This time, Tori avoids inwards to the right (his inside), controlling Uke's
hands with his left. Tori simultaneously strikes Uke's face with his right elbow, and kicks the inside of Uke's
right knee with his right foot. Tori then takes hold of Uke's right shoulder with his right hand and as he lands
backwards from the kick, applies o gyaku to Uke's right arm, taking Uke down and securing him on the
ground.
Henka
Uke is in migi seigan with katana, Tori is in hidari hanin. Uke lunges forward with a thrust. Tori moves to the
outside of the thrust and grabs Uke's hands. Tori then moves underneath Uke's arms (keeping hold of the
hands) and continues moving to Uke's left side, Tori then pulls Uke's hands back to his left hip to throw Uke.
Tori ends up holding Uke's sword in a reverse grip.
Henka
Uke attacks tsuki. Tori moves left and drops to his left knee. Tori's left hand blocks (traps) Uke's right hand
and presses to his right. Tori then does a left fudo ken to Uke's right hand to make Uke drop the sword.
Then, Tori grabs omote gyaku, stands, and applies the lock.
Fu Uke (Fuumo) (wind bowl)
Tori stands in shizen no kamae. Uke stands in dai jodan no kamae. Uke comes in to cut downward. Tori
avoids inwards to the left, covering Uke's right hand with his right hand. Tori then hooks his index and middle
fingers over the back of the tsuba. Tori strikes with a left ura shuto to Uke's jinchu while simultaneously
pulling Uke's sword out of his hands with his right hand. Tori takes hold of the hilt with his left hand and cuts
Uke down.
Henka
Uke attacks as before. Tori avoids as before, taking hold of the sword as before. Shuto and pull as before. If
the pull does not pry the sword from Uke's grip, Tori pushes the blade to Uke's throat as in the Henka of Chin
Gan. Tori then takes Uke down with o soto.
Henka
Uke attacks as before. Tori avoids as before. Holding Uke's right hand with his right hand, Tori steps in with
the left , striking Uke's right elbow with his left shoulder. As Tori leans him forward, Tori sweeps Uke's right
leg backwards with his left foot, dropping Uke directly down to the ground.
Henka
Uke is in daijodan with katana, Tori is in hidari hanin. Uke cuts down with sword. Tori moves to the outside of
the cut and grabs Uke's hands or tsuba with his right hand (in a claw if to tsuba). Tori then strikes with a left
ura shuto to Uke's face (jinchu). Finish by levering Uke's sword out of his grip by rotating it to the side
(butsumetsu) and cut to Uke's left side or downwards.
Baku - In
Sanpo Hiden

Ten Ryaku Uchu Gassho (Heaven and universe prayer)


The hands are clasped in front of the body (chest), then move the hands straight out in front of you until the
arms are straight, step back into Doko no kamae, passing through Ichimonji no kamae.
This gives you the feeling of you and God coming together as one, and to work as one, through your own
strength and mind. Then you can defend yourself.
The hand postures sometimes used as kamae at the beginning of some techniques are used to help focus
your intention onto him.
The Ten Ryaku Uchu Gassho means peace and harmony (all elements from the right united), with no desire
to fight.
Chi Ryaku Futen Goshin Gassho (Circle of wind prayer)
The thumb (Ku), and the forefinger (Fu) of each hand touch, the left then interlinks with those of the right
hand. These are then held vertical in front of the chest. This is Futen Goshin Gassho.
When doing this is Kata the right foot steps back, and the hands separate. The thumb and forefinger still
touch. The wrists cross, as in Jumonji no kamae, but are close to the body. This is called Kohyo Gassho.
When doing the Futen, you should imagine that a Typhoon or whirlwind is spinning around you as you
preform the Inso. This will help protect you.
Jin Ryaku Chi Sui Ka Fu Henka Ryaku
Hanno Hon Itsu Gassho (Circle of Earth, Water, Fire, Wind prayer)
The thumb (Ku), and the ring finger (Sui), of each hand touch, and those of the left hand interlink with those
of the right hand. They are held in front of the chest. This is Hanno Hon Itsu Gassho.
When in waza, the right foot steps back, and the hands separate from each other. With the fingers still
touching each other. The right foot steps back, and the right hand drops to the side of the Obi. The left arm
straightens, and points at Uke. This is Ton Ryu no kamae (escaping dragon posture).

GYOKUSHIN RYU NINPO


KOTSU
The Jodan Uke is very close on the inside of the striking arm. Use the hips to pivot into place for the Uke.
The Uke is usually fast, and snappy. More as a straight to the point block.
Use one of your hands, and tie up Ukes arms, I.E Musha Dori, also Omote Gyaku.
Use a rising, and sinking body motion "up, and down" movement. This is very noticeable within the Ryu's
Taijutsu.
WAZA
Ichiboku Goshinjutsu
Technique 1
Tori lies on his back (asleep on a futon with his head on a wooden pillow). Uke approaches from Toris right
side and grabs Toris right lapel with his left hand. Uke then punches to Toris face with his right fist. Tori
moves his head to the left (Toris left) as he deflects Ukes punch to the right with the lef t hand. Tori then
rolls his body to the right, holding onto Ukes right hand with the left hand and barring Ukes elbow with the
left elbow, using his rolling body to bar and break Ukes right arm. Both of Ukes arms should be trapped.
Technique 2
Tori lies on his back (asleep on a futon with his head on a wooden pillow). Uke approaches from behind
Toris head and puts his left hand over Toris mouth. Uke then attempts to cut Toris throat with a knife held in
his right hand (could even be sharpened wood, flint etc. - any sharp implement). Tori immediately moves his
head to his left while turning to his right and raising both hands into Hoko No Kamae (while still on his back),
the right arm blocks Ukes knife attack. Tori uses his left hand to press Ukess left hand firmly onto Toris face
and Tori continues turning to his right until he is face down. With Ukes hand pressed against Toris face the
result us a kind of Taki Ori on Ukes left wrist.
Technique 3
Uke lies on his back (asleep on a futon with his head on a wooden pillow). Tori approaches from Ukes right

side without looking at Uke. Tori kneels down on his right knee (close to Ukes right side) and at the same
time lifts Ukes right arm by the wrist (Tori uses his right hand to do this). Tori then swings his right foot
clockwise (pivoting on his right knee) until his lower right leg lies against Ukes right side and simultainiously
brings his straightened left leg over Ukes neck. Tori drops backwards onto his back, slamming his left leg
down onto Ukes throat (or mouth) and at the same time breaking Ukes right arm across Toris right
knee/thigh.
Counter to Technique 3
Uke lies on his back (asleep on a futon with his head on a wooden pillow). Tori approaches from Ukes right
side without looking at Uke. Tori kneels down on his right knee (close to Ukes right side) and at the same
time lifts Ukes right arm by the wrist (Tori uses his right hand to do this). Uke does a Koho Kaiten over his
left shoulder to come up into a kneeling position and then throws Tori with a Tomoe Nage using the right leg.
NB. When Uke does Koho Kaiten hi must do the roll in the space below his pillow, the roll is virtually on the
spot with very little backward movement.
Technique 4
Uke and Tori face each other with legs braced wide in a kind of Sumo posture. Tori charges Uke and
tackles Uke around the waist. Uke resists. Tori places both hands just below Ukes buttocks and lifts. Tori
then immediately pushes Uke backwards to either the left or the right. Uke will fall backwards and Tori does
a zenpo kaiten over Ukes body and face.
Counter to Technique 4
Uke and Tori face each other with legs braced wide in a kind of Sumo posture. Tori charges Uke and
tackles Uke around the waist. Uke resists. Tori places both hands just below Ukes buttocks and lifts. Just
before Ukes balance is compromised, Uke uses either his right knee or right foot to push Toris left knee
down to the floor at an inward angle (Uke attacks the outside side of the knee). Uke then drops backwards
and turns to his right, wrapping his legs around Toris waist to apply Do Jime and bringing Tori to the floor.
Takagi Yoshin
Karame Dori
When Uke kicks, block underneath. Pass the right hand over the top of his shin. Between your right arm and
your body. Raise to right foot only. Turn him and hit with right shuto to back of the calf. Push away.
Katate Otoshi
Tori in Seigan, Uke in Seigan with katana. Uke does a tsuki. Tori steps to the left and does ken nagare. Uke
releases the katana. Tori takes his hand in both hands and steps under and throws with Ryote Kote Gaeshi.
Shizumi Nage
Uke draws with Do Kiri. Tori jumps back to clear. Tori goes to Seigan as Uke goes to Daijodan. As Uke cuts,
Tori jumps in underneath, left hand to kashira and right fudo ken to Suigetsu (Gorin) left knee down. Stand
turning to the left taking both hands ???? his sword across his arms ???? tsuba in right hand and throw.
Right hand has tsuba, left hand has his left kote when you ???? and throw.
Seigan
Uke is in Daijodan. Tori in right seigan. Uke cuts. Tori moves to left outside and strikes down to nagare with
the right hand. Uke drops the sword. Tori lifts Ukes hand and steps underneath as in hira ichimonji, pushing
Ukes left hand up with the left hand. Tori continues his turn, throwing Uke with kote gaeshi with the right
hand.
Shime Hodoki (Defence against hon jime or gyaku jime)
Hoshi Dori
For this, simply apply pressure to the nerve points of the opponents elbow with the thumbs and then throw.
Gyaku Zeoi Nage
Do a gyaku zeoi holding either one or both of the opponents arms.
Temakura
Simply do a temakura, however, if the opponents body resists, execute a shuto to his ribs and return to
doing the temakura.

Waki Jime
Catch the opponents sleeve but more preferably his gi from the side and drive a pair of boshi ken to his ribs.
Defence against san kaku jime.
Hoshi Dori nage
To avoid strangulation, lower the chin and raise the shoulders. Then take hold on the nerve points of both
elbows with thumbs and then throw with a gyaku zeoi.
Zu Dori Nage
Catch hold of the opponents hair, ears or throat and then throw.
Shunken Gata Taijutsu Shodan Level *Shinken Gata* When studying the techniques from the Shinken gata,
do not think of these techniques as if they come from any particular school. Even though many of them come
from the Kukishinden Ryu, they are no longer part of these Ryu-ha.
Sei On
Uke and tori stand in KUMUCHI. Tori steps out to the left and gives a right BOSHIKEN to ukes neck (under
the ear ) and pulls with the left arm on ukes right elbow (to unbalance him). Tori is now standing besides
uke and gives a right heel kick into the back of ukes right knee. Tori then goes down to his left knee and
pulls on ukes right arm and pushes with BOSHIKEN. Uke falls onto his back (keep the right foot after the
kick behind ukes right foot).
Cho Yoku
Uke and tori stand in KUMUCHI. Tori steps out to the left and gives a right BOSHIKEN to uke's neck and
pulls on the right elbow. Tori is now standing besides uke and gives a right heel kick into the back of uke's
right knee. After the kick tori goes to the right knee (behind uke) (continue grabbing with both hands) and
then tori does SEOI NAGE. Uke falls onto this back.
Yume Otoshi
Uke does left jodan TSUKI, then right jodan TSUKI. Tori responds with right JODAN UKE, then left JODAN
UKE, and grabs the right hand with his left. Tori comes in with a right BOSHIKEN under the ear and steps
with the right leg behind uke's right. Tori then does OSOTO GAKE (push him down with the BOSHIKEN, pull
on the right arm).
Sui Yoku
Uke does right jodan TSUKI, then left jodan TSUKI then right ZENPO GERI. Tori does left jodan uke, right
jodan uke and grabs uke's left hand, then left GEDAN UKE (just above the knee). From the same movement
from the block, tori goes up and applies a left BOSHIKEN to uke's neck. Step back with the right foot and
pull uke down. Uke falls onto his back.
Sui Sha
Uke does right TSUKI, left TSUKI, right TSUKI and left ZENPO GERI. Tori responds with left JODAN UKE,
right JODAN UKE, left JODAN UKE (soft block) and grabs uke's right wrist with left hand, and finally with
right GEDAN UKE (above the knee). With the right hand tori grabs uke's (right) shoulder. Note : it is not
written in the DENSHO if it is left or right shoulder. Tori then kicks with his right foot against uke's right knee
(to unbalance him) and from the kick between uke's legs and encircles uke's left leg (from the inside). Tori
then pushes with his left arm and with the right leg he pulls uke's leg (to tori's left side). Uke will fall onto his
back (make a circle movement with uke).
Kubi Wa
Uke does right jodan TSUKI, left TSUKI, right TSUKI, and left ZENPO GERI. Tori does left JODAN UKE,
right JODAN UKE, left JODAN UKE and grab the wrist, and right GEDAN UKE (just above the knee). From
the last block, tori applies a right BOSHIKEN in uke's neck in a SANSHIN motion and goes down to his left
knee (pushing with the BOSHIKEN and pulling on the arm). Uke falls onto his back.
Nagare
Uke does right jodan TSUKI, left Tsuki, right Zenpo Geri, and right TSUKI. Tori does left jodan Uke, right
JODAN UKE, left UCHI UKE and right SOTO UKE and grabs the wrist. Toril puts left arm over uke's right
shoulder and grabs uke's left lapel. Uke releases himself by pushing his right shoulder up. Tori turns in

(clockwise) and puts uke's right arm on his left shoulder. Tori stretches out his own left arm (for protection)
and goes to left knee and throws uke. The arm is elbow barre down. KATATE GYAKU SEOI NAGE. Uke
falls onto his back.
Iso Arashi
Uke grabs with his left hand does right TSUKI and right ZENPO GERI. Tori checks uke's left hand on the
wrist with right hand (fingers outside, thumb in) and does left JODAN UKE and left GEDAN uke (just above
the knee) Tori then comes in with his left hand SHAKOKEN and pushes uke's head back against the chin.
At the same time, he takes the grabbing hand in OMOTE GYAKU and goes down to his right knee. Uke falls
onto his back.
Oshi Ori
Uke grabs with his left hand and does right TSUKI and right ZENPO GERI. Tori checks the grabbing hand,
left JODAN UKE, left GEDAN UKE and tori then puts his left arm over uke's left arm (do URA ONIKUDAKI).
Tori applies with right OMOTE GYAKU to uke's left hand and steps in with the URA ONKUDAKI with his left
foot. Tori is now standing next to uke. Tori now does a right kick into the back of the uke's left knee and
goes down on the right knee from the kick and drags uke down. Uke falls onto his back.
Fu Buki
Uke grabs with his left hand and does right TSUKI and right ZENPO GERI. Tori checks the grabbing hand,
left JODAN UKE, left GEDAN UKE. Tori grabs uke's left shoulder with right hand and grabs uke's left hand
in OMOTE GYAKU. Tori then steps in with his left foot (next to uke) and gives a right heelkick into the back
of uke's left knee. Tori then steps in with his left foot behind uke and turns his body to the right. Apply
OMOTE GYAKU with uke's left hand and push on his left shoulder with left. This is not KOSHINAGE. The
feet stay where they are.
Kata Ho
Uke does right TSUKI, left TSUKI, right ZENPO GERI, and right JODAN TSUKI. Tori does left JODAN UKE,
right JODAN UKE, left GEDAN UKE, left JUMONJI block (with the block, left foot is in front, left hand is
inside, right hand outside, and uke's arm between the hands). Tori then grabs with his right hand uke's right
elbow and pulls (to unbalance uke) and grabs the hand in OMOTE GYAKU with the left hand. Tori then
steps behind uke with his right foot and grabs uke's right shoulder with right hand. Do OMOTE GYAKU and
pulll on the shoulder. OSOTO NAGE.
Tatsumaki
Uke does right TSUKI, left TSUKI, right ZENPO GERI, left ZENPO GERI, right JODAN TSUKI, and left
JODAN TSUKI. Tori does left JODAN UKE, RIGHT JODAN UKE, left GEDAN UKE, right GEDAN UKE, left
JUMONJI block (with block, left hand is in front, right hand behind elbow). This is to break the elbow. When
the last left TSUKI comes, tori grabs right arm with left hand, then steps left with his left foot (next to uke's
right side) and does right JODAN UKE. Tori then does right BOSHIKEN into uke's left side of the neck and
steps with his right foot behind uke's right leg. Tori then pulls on the arm and pushes with the BOSHIKEN.
Uke falls onto his back.
KYUSHO
men : face
asagasumi : point under the chin
hoshi : point on the elbow
nagare : point on the forearm
sai : thigh
kaku : knee
yaku : ankle
toki : top of the foot
butsumetsu : four points on the ribs
uko: neck "door of rain" rear of jawbone
shichibatsu : top of the hip bone (back of the hip)
suigetsu : solar plexus
suzu : groin
kasumi : temple
tento : top of the skull (frontal bone of the skull)
yugasumi : point below the ear
koe : to find the correct point. place the fingers on the point of the hip bone. the thumb should be positioned

on his koe.
murasame : notch between the clavicles
kage : sternum
ryumon : dent at the shoulder bone
gorin : five points around the navel
omote kimon : top of the chest (uke's left side)
urakimon : top of the chest (uke's right side)
jinchu : base of the nose
shinchu : centre of the heart
wakitsubo : ribs in the armpit
jakkin : bicep (jujiro)

KOTO RYU KOPPOJUTSU (knocking down tiger school)


KOTSU
The Koto Ryu techniques use short distance between the two opponents
The Koto Ryu concentrates more on striking
Attacks to the face in addition to metsubushi are common techniques of the school.
Yoko Aruki (cross stepping), and stamping on toes (Toki).
Short distance and striking hard.
Always make the eyes appear blank so no telepathic movement can be detected by the opponent. A saying
in the Koto Ryu is "The eyes are everything.".
Looking at the eyebrows of the opponent.
The counter attack is similar to a explosion. Do not explode too soon or the body will become weak, and you
will lose.
KYUSHO
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Ura Kimon, the gap between the 4th and 5th ribs right under the nipples.
Yanagi Kaze, the Adam's Apple.
Rangiku (or Kasumi), the temple.
Hiryuran, the eyeball.
Shishiran (or Suigetsu), the area a little bit lower than the pit of the stomach.
Kosei (or Suzu), the testicles.
Yu Kasumi, the soft dimpled area right behind the earlobe.
Tsuyu Kasumi, directly under the ear.
Ryumon, the soft dimpled area on/near the clavicle.
Jyujiro, the front part of the shoulder bone.
Jyaku Kotsu (or Hoshi Shita), the gap between the upper and lower bones of the arm at the elbow joint.
Daimon, the gap near the shoulder joint.
Asagasumi, the chin.
Hoshi, the armpit.
Kimon, the nipple.
Kinketsu, the ribs.
Koshitsubo, inside the hip bones.
Koe, the leg joint at the lymph nodes.
Tenmon, above and below the eyes and nose.
Amado, the area where the lymph glands are, about two inches below the ear.
Jin Chu, the area below the nose, above the uppe