Bujinkan Densho Book

Bujinkan Densho Collection

武神館伝承収集

1

戸隠流

Togakure Ryu

Published and produced by Takamatsuden Books

高松伝の本 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.

高松伝の本

© Takamatsuden Books 2010

2

戸隠流

Togakure Ryu

戸隠流忍法体術 Togakure Ryu Ninpo Taijtsuu (Hidden Door Ninja Method Body Arts)

高松伝の本


3

戸隠流

Togakure Ryu

目録 Mokuroku (Catalogue)

戸隠流忍法体術 Togakure Ryu Ninpo Taijutsu (Hidden Door School Ninja Methods Body Art)

構型 Kamae Kata (Posture Forms)

一之構（平之構） Ichi no Kamae (Hira no Kamae) (No. One Posture – Flat Posture)

平一文字之構

Hira Ichimonji no Kamae (Flat No. One Posture)

八文字之構

Hachimonji no Kamae (Eight Character Posture)

八方隠之構

Happo-Gakure no Kamae (All Sides Concealing Posture)

遁走之構

Ton-So no Kamae (Escaping Posture)

高松伝の本


戸隠流

4

Togakure Ryu

体術受け身型 Taijutsu Ukemi-Gata (Body Art Passive Forms)

返し島 Kaeshi Dori (Counter Capture)

拳流

Ken-Nagashi (Fist Flow)

一之構

Ichi no Kamae (Figure One Posture)

一刀島

Itto-Dori (One Sword Capture)

横蹴

Yoko-Geri (Horizontal Kick)

一刀軌

Itto-Giri (One Sword Cut)

忍返型 Shinobi-Gaeshi-Gata (Secret Fading Forms)

重返 Kasane-Gaeshi (Nesting Counter)

重捕

Kasane-Dori (Nesting Capture)

空飛

Sora-Tobi (Flying in the Sky)

横流

Yoko-Nagare (Side Flow)

高松伝の本


戸隠流

5

Togakure Ryu

後流 Ushiro-Nagare (Back Flow)

中返

Naka-Gaeshi (Middle Turn)

横返

Yoko-Gaeshi (Side Turn)

飛違

Tobi-Chigai (Flying Difference)

一刀投

Itto-Nage (Single Sword Throw)

鉄板投

Teppan-Nage (Iron Plate Throw)

切返

Kiri-Kaeshi (Turning Cut)

捨身

Sute-Mi (At the risk of ones life)

鼠逃遁甲之型 Santo Tonko no Kata (Escaping Rat Forms)

片腕遁走型 Kata Ude Tonso no Kata (One Armed Escape and Run Form)

左遁走型

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

左腕遁走型

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

右遁走型

Migi Tonso no Kata (Right Escape and Run Form)

高松伝の本


6

戸隠流

Togakure Ryu

右手首筋遁走型 Migi Te Kubi Suji Tonso no Kata (Right Hand Escape and Run Form)

左手首筋遁走型

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

当込遁走型

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

小手打遁走型

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

右手打遁走型

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

左右雲隠型

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

功勢雲隠型

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

八方雲隠型

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

高松伝の本


7

戸隠流

Togakure Ryu

構型 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.

一之構（平之構） 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 ½ 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 Uke’s 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 Uke’s 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.

高松伝の本


8

戸隠流

Togakure Ryu

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

平一文字之構 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 Uke’s force to go by, or confining the Uke’s movements.

八文字之構 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

高松伝の本


9

戸隠流

Togakure Ryu

points to the Uke’s 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.

八方隠之構 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.

遁走之構 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

高松伝の本


10

戸隠流

Togakure Ryu

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

高松伝の本


11

戸隠流

Togakure Ryu

体術受け身型 Taijutsu Ukemi-Gata (Body Art Passive Forms) Shuko are worn throughout all of these techniques.

返し島 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 Uke’s 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 Uke’s 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 Uke’s 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.

高松伝の本


12

戸隠流

Togakure Ryu

拳流 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 Uke’s 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 Uke’s right Toki (top of the foot) with the left Shuko, and to the Uke’s 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 Uke’s arms, not his sword when he cuts. Also, the strike down to Toki can be replaced with clawing to the Uke’s 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 Uke’s weight will automatically be on the other foot. Use this as strategy.

一之構 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 Uke’s 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

高松伝の本


13

戸隠流

Togakure Ryu

to the Uke’s hands to cover from counter attack and strike the Uke’s 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 (Uke’s 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.

一刀島 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.

高松伝の本


14

戸隠流

Togakure Ryu

横蹴 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 Uke’s 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.

一刀軌 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 Uke’s right side. Zanshin.

高松伝の本


15

戸隠流

Togakure Ryu

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

重返 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.

高松伝の本


16

戸隠流

Togakure Ryu

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.

重捕 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 enemy’s 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.

空飛 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

高松伝の本


17

戸隠流

Togakure Ryu

important point to this technique is the method of initially leaping to the first branch.

横流 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.

後流 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

高松伝の本


18

戸隠流

Togakure Ryu

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).

中返 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.

横返 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.

高松伝の本


19

戸隠流

Togakure Ryu

飛違 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.

一刀投 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.

高松伝の本


20

戸隠流

Togakure Ryu

鉄板投げ 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).

切返 Kiri-Kaeshi (Turning Cut) The name of this technique means to counter cut. This technique is to match the Uke’s 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 Uke’s right side, or step forwards with Yoko Aruki with the left foot and cut with Do Giri to the Uke’s 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

高松伝の本


21

戸隠流

Togakure Ryu

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.

捨身 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.

高松伝の本


22

戸隠流

Togakure Ryu

鼠逃遁甲之型 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.

片腕遁走型 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 Uke’s 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 Uke’s 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 Uke’s wrist with Take Ori and kick with the right foot to the Uke’s right side Koe (to the side of the groin). Your right foot then lands to the Uke’s right side as you pass under the Uke’s 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 Uke’s eyes. Lastly, leap back with Chi Tobi and escape using Doton no

高松伝の本


23

戸隠流

Togakure Ryu

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

左遁走型 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 Uke’s 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 Uke’s 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 Uke’s wrist with Take Ori and kick with the right foot to the Uke’s right side Koe (to the side of the groin) and at the same time grab the Uke’s elbow with your right hand. Your right foot then lands to the front of the Uke’s right foot (about 1 foot away with your foot in the same direction as the Uke’s, so similar to Yoko Aruki) and your left foot comes to the front of the Uke’s 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 Uke’s 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.

高松伝の本


24

戸隠流

Togakure Ryu

左腕遁走型 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 Uke’s 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 Uke’s 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 Uke’s wrist with Take Ori and kick with the left foot to the Uke’s Suigetsu (stomach) and at the same time grab the Uke’s elbow with your right hand. Your left foot then lands to the back of the Uke’s left foot and you pull the Uke’s arm to the rear to take balance at the same time. Drop to your knee and pull the Uke’s arm down to throw the Uke onto his back Then immediately stand up and take your Metsubushi, crush and then throw it at the Uke’s 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.

右遁走型 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 Uke’s 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 Uke’s 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

高松伝の本


25

戸隠流

Togakure Ryu

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 Uke’s wrist with Take Ori and kick with the right foot to the Uke’s Suigetsu (stomach) with Kakushi Geri (hidden kick) and at the same time grab the Uke’s elbow with your left hand from above. Your right foot then lands in between the Uke’s 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 Uke’s 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 Uke’s 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.

右手首筋遁走型 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 Uke’s right hand. On the third pull sink the spikes of the Shuko into the Uke’s right hand and step back with the left foot so that it is behind the Uke’s right foot (toes point to the left) and strike the Uke to Suigetsu with a left Enpi (elbow) – release the Uke’s 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 Uke’s 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.

高松伝の本


26

戸隠流

Togakure Ryu

左手首筋遁走型 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.

当込遁走型 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).

小手打遁走型 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

高松伝の本


27

戸隠流

Togakure Ryu

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).

右手打遁走型 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 Uke’s 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 Uke’s eyes and finish by holding the sword in such a way that the tip is pointed towards the Uke and then Zanshin.

左右雲隠之型 Sayu Kumo-gakure no Kata (Left And Right Cloud Hiding Form) Two Uke’s 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 Uke’s closer together. When they are close together, take

高松伝の本


28

戸隠流

Togakure Ryu

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.

功勢雲隠型 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).

八方雲隠型 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

高松伝の本


29

戸隠流

Togakure Ryu

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).

高松伝の本


30

戸隠流

Togakure Ryu

戸隠流忍者秘剣 Togakure Ryu Ninja Biken (Hidden Door School Ninja Secret Sword)

高松伝の本


31

戸隠流

Togakure Ryu


戸隠流忍者秘剣 Togakure Ryu Ninja Biken (Hidden Door School Secret Ninja Sword)

基本 Kihon (Fundamentals)

佩刀 Taitou (Carrying A Sword)

鯉口切り

Koi Kuchi Kiri (Breaking the Carps mouth)

片手抜き

Katate Nuki (One Handed Draw)

左片手逆抜き

Hidari Katate Gyaku Nuki (Left One Handed Reverse Draw)

右片手逆抜き

Migi Katate Gyaku Nuki (Right One Handed Reverse Draw)

切上

Kiri-Age (Cut Up)

高松伝の本


32

戸隠流

Togakure Ryu

構 Kamae (Posture)

一之構 Ichi no Kamae (Figure One Posture)

青眼之構

Seigan no Kamae (Correct Eye Posture)

中段之構

Chudan no Kamae (Middle Level Posture)

下段之構

Gedan no Kamae (Lower Level Posture)

棟水之構

Tosui no Kamae (Water Ridge Posture)

八相之構

Hasso no Kamae (Eight Phase Posture)

霞之構

Kasumi no Kamae (Mist Posture)

刀匿石馬交姿之構

Totoku Hyoshi no Kamae (Sword Hiding Catapult Form Posture)

忍者秘剣之型 Ninja Biken no Kata (Ninja Secret Sword Forms)

飛竜之剣 Hi-Ryu no Ken (Flying Dragon Sword)

霞之剣

Kasumi no Ken (Mist Sword)

高松伝の本


33

戸隠流

Togakure Ryu

無想之剣 – (浦波) Muso no Ken – (Ura Nami) (No Thought Sword – (Breaking Waves)

打椢の剣

Dato no Ken (Striking And Felling Sword)

一閃剣

Issen Ken (A Sword Flash)

雷光之剣

Rai-Ko Ken (Lightening Sword)

一刀投げ

Itto Nage (One Sword Throw)

一刀斬

Itto Giri (One Sword Kill)

切返

Kiri Kaeshi (Returning Cut)

捨身

Sutemi (At the risk of ones life)

目潰

Me-Tsubushi (Eye Crush)

影之一刀

Kage no Itto (Shadow of a Sword)

忍者居合

Ninja Iai (Ninja Sword Draw)

手之内

Te no Uchi (Hands Inside)

下げ緒之型 - その一 Sage-O no Kata – Sono Ichi (Sword String Form – Version 1)

下げ緒之型 - その二

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

高松伝の本


34

戸隠流

Togakure Ryu

体割一刀 Tai Wari Itto (One Sword Body Cut)

基本 Kihon (Basics)

佩刀 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.

高松伝の本


35

戸隠流

Togakure Ryu

鯉口切り 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.

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

片手抜き 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 Uke’s 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.

高松伝の本


36

戸隠流

Togakure Ryu

左片手逆抜き 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.

右片手逆抜き 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.

切上 Kiri-Age (Cut Up)

This is for cutting to the Uke’s 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 Uke’s

高松伝の本


37

戸隠流

Togakure Ryu

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 Uke’s front hand starting to move. If you are too late, the Uke will cut you.

構 Kamae (Posture)

一之構 Ichi no Kamae (Figure One Posture) This is a kamae for responding to any changes the Uke makes, so follow the Uke’s 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 Uke’s 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 ½ 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

高松伝の本


38

戸隠流

Togakure Ryu

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.

青眼之構 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 Uke’s 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 Uke’s 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 ½ 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 Uke’s 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

高松伝の本


39

戸隠流

Togakure Ryu

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.

中段之構 Chudan no Kamae (Middle Level Posture) The intention with this Kamae is to drive the kissaki through the Uke’s 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 Uke’s heart. Other than that, all the points are the same.

下段之構 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 Uke’s 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 Uke’s foot. Stare the Uke firmly in the eyes. Apart from these differences, the kamae is the same as the previous.

高松伝の本


40

戸隠流

Togakure Ryu

棟水之構 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. Don’t fix your stare, instead, use your peripheral vision. If you find this difficult, then stare at the Uke’s 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.

八相之構 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).

高松伝の本


41

戸隠流

Togakure Ryu

霞之構 Kasumi no Kamae (Mist Posture) This is a Kamae of Kojitsu. Stare vacantly at the Uke’s 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.

刀匿石馬交姿之構 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.

高松伝の本


42

戸隠流

Togakure Ryu

忍者秘剣之型 Ninja Biken no Kata (Ninja Secret Sword Forms)

飛竜之剣 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 Uke’s 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 Uke’s 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 Uke’s 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 Uke’s 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 Uke’s 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 Uke’s 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.

高松伝の本


43

戸隠流

Togakure Ryu

霞之剣 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 Uke’s blade that you strike is about half way down the blade. Then cut to the Uke’s 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 Uke’s right side neck – Kamae – Uke cuts – left step forwards to the left with right Hane Age – right step forwards to the right and cut Uke’s left side neck – Kamae - Uke cuts – right step forwards to right with left Hane Age – left step forwards to the left and cut to Uke’s 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.

無想之剣 – (浦波) 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 Uke’s hands to his stomach. This should be very hard for the Uke to counter. The Uke deflects your sword to the

高松伝の本


44

戸隠流

Togakure Ryu

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 Uke’s 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 Uke’s 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 Uke’s 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.

打椢の剣 Dato No Ken (Striking And Felling Sword) The point of this technique is to deflect the Uke’s 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 Uke’s 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

高松伝の本


45

戸隠流

Togakure Ryu

and then Hane Age – You keep moving in this manner until you are behind the Uke enough to cut to the Uke’s 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 Uke’s neck. The important point here is to control the Uke’s 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.

一閃剣 Issen Ken (A Sword Flash) This technique means to knock down the Uke’s 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 Uke’s 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 Uke’s 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 Uke’s deflection. After this, step forwards slightly to the right

高松伝の本


46

戸隠流

Togakure Ryu

with the right foot and cut to the right side of the Uke’s 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 Uke’s sword down, and then move off and cut to the Uke’s left side throat with Yoko Aruki. This is the first form. The second form’s taijutsu is different. Begin in Seigan no Kamae. The Uke begins in Seigan no Kamae. You then tsuki to the Uke’s 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 Uke’s sword with the back or the side of your blade with the feeling of pounding the Uke’s sword down (this is important). From here, step forward with the left foot and cut to the left side of the Uke’s 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 Uke’s 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 Uke’s 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.

高松伝の本


47

戸隠流

Togakure Ryu

雷光之剣 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 Uke’s body – don’t 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

高松伝の本


48

戸隠流

Togakure Ryu

– 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.

一刀投げ 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.

高松伝の本


49

戸隠流

Togakure Ryu

一刀斬 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 Uke’s 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 Uke’s side with a stabbing motion by turning your wrists slightly anti-clockwise to present the edge of the blade to the Uke’s side, and don’t 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 Uke’s 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.

高松伝の本


50

戸隠流

Togakure Ryu

切返 Kiri Kaeshi (Returning Cut) The name of this technique means to counter cut. This technique is to match the Uke’s 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 Uke’s right side, or step forwards with Yoko Aruki with the left foot and cut with Do Giri to the Uke’s 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.

捨身 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.

高松伝の本


51

戸隠流

Togakure Ryu

目潰 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 Uke’s 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

高松伝の本


52

戸隠流

Togakure Ryu

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 (一刀瑠弾 – 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 (Heaven’s strategies).

影之一刀 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.

高松伝の本


53

戸隠流

Togakure Ryu

忍者居合 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 Uke’s 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 Uke’s wrist with your fingers. This is a part of Tai Wari Itto (the final technique in the densho). This, along with smashing into the Uke’s 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 Uke’s wrist.

手之内 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.

高松伝の本


54

戸隠流

Togakure Ryu

其の一 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 Uke’s left arm will be cut as he swings his sword down. Change hands on the tsuka to your right hand and grab the Uke’s 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

其の二 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.

其の三 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 Uke’s left arm will be cut as he swings his sword down. You then re-sheath the sword

高松伝の本


55

戸隠流

Togakure Ryu

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

其の四 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 Uke’s right wrist with the tsuka. Then, place your left foot behind the Uke’s right foot and force the Uke’s leg to the floor with your leg. When the Uke is down, switch knees to your right knee and place it onto the Uke’s leg to pin him. Lastly, prepare to strike the Uke’s head with the tsuka-gashira if he resists. Zanshin.

其の五 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 Uke’s right hand with the tsuka. Finish by stepping into the Uke’s right side and thrust the tsuka-gashira to the Uke’s right side Butsumetsu. Zanshin.

高松伝の本


56

戸隠流

Togakure Ryu

其の六 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 Uke’s left wrist with the tsuka, making the left hand release it’s grip. You the drop to right knee and hold the Uke’s right hand with your left hand, and at the same time, grab the Uke’s right calf muscle with your right hand. Press the Uke’s right hand outwards and down to take the Uke to the floor face up (do not pull the Uke’s 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 Uke’s right hand and use your left hand to strike the Uke with the tsuka-gashira if he resists. Zanshin.

其の七 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 Uke’s left wrist with the tsuka, making the left hand release the grip. Then you grab the Uke’s left wrist with your left hand and turn the body counter-clockwise to bring yourself side on to the Uke. Take the Uke’s 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 Uke’s head with the tsuka-gashira if he resists. Zanshin.

高松伝の本


57

戸隠流

Togakure Ryu

其の八 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 Uke’s left wrist. Then, take the Uke’s wrist with your right hand to your right hip and the tsuka of your sword on the Uke’s 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 Uke’s right arm and prepare to strike the Uke’s head with the tsuka-gashira. Zanshin.

其の九 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 Uke’s 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 Uke’s left wrist, and catch the Uke’s 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 Uke’s elbow with your right arm. If the Uke struggles, be ready to draw your sword by holding the Uke’s arm and your own saya with your left hand, and drawing and striking the Uke’s head with the tsuka-gashira. Zanshin

高松伝の本


58

戸隠流

Togakure Ryu

其の十 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 Uke’s left arm and throw with Seoi Nage over your right side – you need to keep awareness on the Uke’s sword. Maintain control of the Uke’s left arm. Keep pressure on the Uke’s left hand and use your left hand to draw and strike the Uke to the face with the tsuka-gashira if he resists. Zanshin.

其の十一 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 Uke’s arms locking them against your left shoulder. You then throw the Uke and keep control of the Uke’s hands / arms throughout this movement. Finish by pinning the Uke’s hands / arms with your right knee, and prepare to strike the Uke’s head with the tsuka-gashira if he resists. Zanshin.

高松伝の本


59

戸隠流

Togakure Ryu

其の十二 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.

下げ緒之型 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.

その一 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 Uke’s eyes. At the instant the Uke flinches, you draw your sword and cut.

高松伝の本


60

戸隠流

Togakure Ryu

その二 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 Uke’s – 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 Uke’s eyes as Metsubushi. Then, you leap and cut the second Uke.

体割一刀 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 Uke’s wrist. As previously mentioned, this is Koppojutsu.

高松伝の本


戸隠流遁甲の術

Togakure Ryu Tonko no Jutsu

1




高松伝の本




2

戸隠流遁甲の術戸隠流遁甲の術

Togakure Ryu Tonko no Jutsu (Hidden Door School Escaping Forms)

高松伝の本




3


戸隠流遁甲の術 Togakure Ryu Tonko no Jutsu (Hidden Door School Escaping Forms)

木遁の術木遁の術 Mokuton no jutsu (Wood Element Techniques)

火遁之術火遁之術

Katon no jutsu (Fire Element Techniques)

土遁之術土遁之術 Doton no jutsu (Earth Element Techniques)

金遁之術金遁之術

Kinton no jutsu (Metal Element Techniques)

水遁之術水遁之術 Suiton no jutsu (Water Element Techniques)

人遁之術人遁之術

Jinton no jutsu

(Human Element Techniques)

高松伝の本




4

禽遁 /獣遁/ 虫遁/ 魚遁禽遁 / 獣遁 / 虫遁 / 魚遁 Kinton (Bird Evasion) Juton (wild Animal Evasion) Chuton (Bug Evasion) Gyoton (Fish Evasion) Animal Elemental Techniques

日遁之術日遁之術

Nitton no jutsu (Sun Element Techniques)

月遁之術月遁之術

Getton no jutsu (Moon Element Techniques)

星遁之術星遁之術 Seiton no jutsu (Astronomy Element Techniques)

雲遁之術雲遁之術

Unton no jutsu (Cloud Element Techniques)

霧遁之術霧遁之術

Muton no jutsu (Fog Element Techniques)

高松伝の本




5

木遁之術木遁の術 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.

偽装之法偽装之法 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

高松伝の本




6

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.

蹲隠之法蹲隠之法

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 偽装之法. 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.

目潰之法目潰之法

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 enemy’s eyes – when the enemy flinches, either finish him with Bikenjutsu or escape to the rear.

高松伝の本




7

偽変木遁之法偽変木遁之法

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.

倒木偽変之法倒木偽変之法

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.

高松伝の本




8

火遁之術火遁之術

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.

火攻之法火攻之法

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.

高松伝の本




9

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’.

熱湯之法熱湯之法

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.

高松伝の本




10

煙幕撹乱之法煙幕撹乱之法

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.

鬼火之法鬼火之法

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).

高松伝の本




11

息討器之法息討器之法

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.

高松伝の本




12

土遁之術土遁之術

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.

目潰之法目潰之法

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.

高松伝の本




13

土竜之法土竜之法

Mogura no Ho

(Mole Method)

The actual Kanji for this technique ‘土竜’ 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).

落花之法落花之法

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

高松伝の本




14

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.

隠遁之法隠遁之法

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.

雪遁之法雪遁之法

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.

高松伝の本




15

金遁之術金遁之術

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. .

谺之法谺之法

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.

高松伝の本




16

光之法 (合図) 光之法 (合図) 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.

光之法 (目潰) 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 sun’s 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.

陰陽之法 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.

高松伝の本




17

Regardless of whether it’s 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).

高松伝の本




18

水遁之術水遁之術 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.

高松伝の本




19

各種古式泳法各種古式泳法

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.

立ち泳ぎ立ち泳ぎ

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.

高松伝の本




20

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,

高松伝の本




•

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.

抜き手抜き手

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 you’re 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 wouldn’t haul a rope in with your arms out to the side of your body, you’d do it towards your stomach. So at the beginning of the

高松伝の本




22

pull (before you’ve 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 wouldn’t do a push up with your hands close to your body, you’d 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 you’ll 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.

高松伝の本




あおり平（のし）あおり平（のし） 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.

補縛泳ぎ補縛泳ぎ

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.

毒水鉄砲之法毒水鉄砲之法

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.

高松伝の本




24

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.

高松伝の本




25

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.

高松伝の本




26

Wrap the soft cloth around the pegs .

Secure the cotton with an elastic band or some string.

高松伝の本




27

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

This in the plunge stick completed.

高松伝の本




28

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.

高松伝の本




29

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 chilli’s, 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.

欺変撹乱之法欺変撹乱之法

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.

高松伝の本




30

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.

水変蜘蛛之法水変蜘蛛之法

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.

高松伝の本




31

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 (忍び櫂 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.

水中器之法水中器之法

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.

高松伝の本




32

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.

高松伝の本




33

人遁之術人遁之術

Jinton no jutsu

(Human Element Techniques)

Jinton no Jutsu is the use of disguise and identity concealment (Hensojutsu 変装術) 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.

男遁 Danton 男遁 (Male) Depending on whether or not you yourself are male (Jin 人)or female (Onna 女), 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 man’s interests and daily routine as this can be vital in one’s strategy for using him. Sex is always an important factor in the manipulation of men, so it is important to know the man’s sexual orientation in order to be able to exploit him. It is also important to know how to use Kunoichi くノ一 (Female Ninja) effectively to obtain information from men.

高松伝の本




34

女遁 Onnaton 女遁 (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 くノ一 (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.

高松伝の本




35

老遁 Roton 老遁 (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.

幼遁 Yoton 幼遁 (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.

高松伝の本




36

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.

貴遁 Kiton 貴遁 (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.

賤遁 Senton 賤遁 (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.

高松伝の本




37

変装術 Hensojutsu 変装術 Hensojutsu is the art of disguise. The most important part of this is Shichihode 七方出 (seven disguises) and is made up from the following – Tsune no Kata 常の形 (commoner, including Ronin, or masterless samurai, farmers and townspeople), Sarugakushi 猿楽師 (Travelling Entertainer / Dancer) Hokashi 曲芸師(Travelling Entertainer / Minstral / Magician…) Shukke 出家 (Monk), Komuso 虚無僧 (bamboo flute playing mendicant zen priest) Yamabushi 山伏 (mountain-dwelling ascetic) Shonin 町人 (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.

高松伝の本




38

禽獣虫魚遁遁遁遁 Kinton (Bird Evasion) Juton (wild Animal Evasion) Chuton (Bug Evasion) Gyoton (Fish Evasion)

禽遁 Kinton 禽遁 (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.

高松伝の本




39

Saiminjutsu 催眠術 (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 bird’s 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 it’s wings frantically and fall to the ground.

獣遁 Juton 獣遁 (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 wouldn’t 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 animal’s 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

高松伝の本




40

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

虫遁 Chuton 虫遁 (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.

高松伝の本




41

魚遁 Gyoton 魚遁 (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 enemy’s territory to kill the fish – thereby taking away an important food source. Fugu 河豚 (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.

日遁之術日遁之術

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

高松伝の本




42

enemy’s eyes to temporarily blind him and take advantage at that moment.

月遁之術月遁之術

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.

星遁之術星遁之術 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.

高松伝の本




43

雲遁之術雲遁之術

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.

高松伝の本




44

霧遁之術霧遁之術

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.

高松伝の本


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 Kagakure’s 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.

1

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.

2

This kamae is for using metsubishi (blinding powder).

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

3

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..

4

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.

5

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.

6

This is very important to use the arm and shoulder to block for incoming cuts if need be.

7

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.

8

Then after striking use the shuko, one on each of the opponent’s feet.

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

9

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 opponent’s 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 Tori’s 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 uke’s 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 tori’s 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 uke’s wrist. On the third step tori lifts ukes grabbing hand up in TakeOri.

62

Tori grabs uke’s 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 tori’s 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 tori’s 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 uke’s arm locked while preparing metsubushi.

73

74

Uke is behind tori and grabs the back of tori’s 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 uke’s 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 tori’s 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 turn’s 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 tori’s 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 opponent’s blade and then turn the blade over and hit the opponent’s blade down and away, then step in past the opponent’s blade and then cut to the opponent’s 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 one’s 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 Ninja’s 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 Ninja’s 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 Ninja’s 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 enemy’s 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-

1

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.

2

3

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).

4

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.

5

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.

6

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.

7

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)-

8

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.

9

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 enemy’s 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 opponent’s eyes B. Grab a handful and throw into the opponent’s 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 enemy’s 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. I’ve 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 I’ve 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 isn’t 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 don’t 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 one’s 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 isn’t 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.” I’ll 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, it’s 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 someone’s 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, let’s 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 I’m 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, they’re 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 farmer’s sickles. Shuriken were taken from... Well, you know...

I’m always telling my students: “Go to Lowe’s 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 you’re going to get past the usual mindset that limits most martial artists and potential warriors, you’re 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, there’s 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

2

4 ...And back again...

2

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

3 ... In one quick, deft motion!

5

4

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 assailant’s 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. And…even 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 can’t 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 I’ve 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 you’re 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 won’t 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 don’t 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 there’s lots of work to be done. And that will require effort, discipline, and commitment to putting in the time needed. Even then... We’re only halfway. Now that we’ve covered the history, background, and basics of throwing the shuriken - what, to most people, is the “obvious” or omote aspect of this weapon, let’s 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, I’ve outlined some example techniques for using both the hira and bo-shuriken against common punching, grabbing, and kicking attacks. You’ll 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 it’s 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 he’ll also “turn up the volume” on his attack he’ll 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 he’s lost it!

Defense Against a Bully-Type Grab with the Shuriken

Here’s 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 practitioner’s 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 Ninja’s 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 you’re 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 we’re 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.

1

玉虎流骨指術

Gyokko Ryu Kosshijutsu




高松伝の本


2

玉虎流骨指術


玉虎流骨指術 Gyokko Ryu Kosshijutsu (Jewel Tiger School Finger Bone Art) 高松伝の本


3

玉虎流骨指術


玉虎流骨指術 Gyokko Ryu Kosshijutsu (Jewel Tiger School Finger Bone Art)

目録 Mokuroku

体変術 Taihenjutsu

前方廻転 Zenpo kaiten

側方回転 Soku ho kaiten

後方回転 Koho kaiten

前方転回 Zenpo Tenkai

後方転回 Koho Tenkai

側方転回 Sokuho Tenkai

横流

Yoko Nagare

立流

Tate Nagare

高松伝の本


4

玉虎流骨指術


前方受身 Zenpo Ukemi

前後左右上下跳躍 Zenpo Sayu Jôge Choyaku

拳 Ken

鬼角拳 Kikaku Ken

手起拳 Shuki ken

不動拳 (仁王拳) Fudo Ken (Nio Ken)

起転拳 (手刀) Kiten Ken (Shuto)

指針拳 Shishin Ken

指端拳 Shitan Ken

蝦蛄拳 (指半拳) Shako Ken (Shihan Ken)

指刀拳 Shito Ken

指躍拳 Shiyaku Ken

指環拳 Shikan Ken

高松伝の本


5

玉虎流骨指術


骨法拳 Koppo ken

八葉拳 Happa Ken

体拳 Tai Ken

蹴 Keri

足躍拳 Sokuyaku ken

足起拳 Sokki Ken

足逆拳 Sokugyaku Ken

三宝合掌 Sanpo Gassho

天略字宙合掌 Tenryaku Uchu Gassho

地略天風の合掌 Chiryaku Tenpu no Gassho

人略反応盆溢の合掌 Jinryaku Hanno Funitsu no Gassho

高松伝の本


6

玉虎流骨指術


構 Kamae

一文字之構 Ichimonji no kamae

十文字之構 Jumonji no kamae

飛鳥之構 Hicho no kamae

体変術基本型 Taihenjutsu Kihon Gata

平之構 Hira no kamae

一文字之構 Ichimonji no kamae

十文字之構 Jūmonji no kamae

起型 Moto Gata

右一文字之構 Migi Ichimonji no kamae

高松伝の本


7

玉虎流骨指術


左一文字之構 Hidari Ichimonji no kamae

右飛鳥之構

Migi Hichō no kamae

左飛鳥之構

Hidari Hichō no kamae

右十文字之構 Migi Jūmonji no kamae

左十文字之構 Hidari Jūmonji no kamae

捕手基本型 Torite Kihon Gata

その一 (右表逆) Soni Ichi (Migi Omote Gyaku)

その二 (左表逆)

Soni Ni (Hidari Omote Gyaku)

その三 (右表逆突) Sono San (Migi Omote Gyaku Tsuki)

その四 (左表逆突)

Sono Yon (Hidari Omote Gyaku Tsuki)

その五 (右裏逆) Sono Go (Migi Ura Gyaku)

その六 (左裏逆) Sono Roku (Hidari Ura Gyaku)

その七 (右武者捕) 高松伝の本


8

玉虎流骨指術


Sono Shichi (Migi Musha Dori)

その八 (左武者捕) Sono Hachi (Hidari Musha Dori)

その九 (右武剿捕) Sono Kyu (Migi Muso Dori)

その十 (左武剿捕) Sono Ju (Hidari Muso Dori)

高松伝の本


9

玉虎流骨指術


体変術 Taihenjutsu

前方廻転 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.

側方回転 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.

高松伝の本


10

玉虎流骨指術


後方回転 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.

前方転回 Zenpo Tenkai (Forward Rotation) Move forwards and handspring forwards. Again, this should be done 2 handed, 1 handed and with no hands.

後方転回 Koho Tenkai (Rear Rotation) This is a backflip. Again, this should be done 2 handed, 1 handed and with no hands.

側方転回 Sokuho Tenkai (Side Directional Rotation) This is a sideways handspring / cartwheel. Again, this should be done 2 handed, 1 handed and with no hands.

高松伝の本


11

玉虎流骨指術


横流 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.

立流 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.

前方受身 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 八. Your face should be above the triangle when you strike the mat with your arms.

前後左右上下跳躍 Zenpo Sayu Jôge Choyaku This is to jump in all directions. The directions that you should train are - Up (Ten 天), Down (Chi 地), Left (Hidari 左), Right (Migi 右), Forwards (Mae 前), Backwards (Ushiro 後).

高松伝の本


12

玉虎流骨指術


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 円飛び (Circular leaps) - this means jumping to change your position to align yourself with your opponent. This is Hichojutsu.

拳 Ken (Fists)

鬼角拳 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.

手起拳 Shuki ken (Hand Wake Up Fist) Use the tips of the elbow for striking close to the target. Practice Ryote Shuki Ken too.

不動拳

(仁王拳)

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.

高松伝の本


13

玉虎流骨指術


起転拳

(手刀)

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.

指針拳 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 一寸法師拳 (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.

指端拳 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.

高松伝の本


14

玉虎流骨指術


This fist is also known as ‘Sanshi Ittotsu Yo Ken 三指一突踊拳’ (Three finger one strike dancing fist). When three fingers are used to strike together it is known as Gokukaku Ken 午角拳. 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 一時, Toki no to 時の当, Santo 三当 (Ittou - Nittou - Santou) This strike is also known as Hosen Ken (Bee Sting Fist).

蝦蛄拳

(指半拳)

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 Sensei’s fingers were actually soft and flexible. He was able to bend his fingers until they were almost touching the back of his hand.

指刀拳 Shito Ken (Sword Finger Fist) This is most commonly referred to as Boshi ken 拇指拳 (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 秘槍拳 (Secret spear fist). The name Boshi ken comes from the Koto Ryu and Shito ken is from the Gyokko Ryu

高松伝の本


15

玉虎流骨指術


指躍拳 Shiyaku Ken (Leaping Finger Fist) Make a fist then extend the second knuckle of the middle finger. Use this to strike the Uke’s’s weak points/kyusho.

指環拳 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.

骨法拳 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.

八葉拳 Happa Ken (Eight Leaves Fist) Use your open hands, as slapping strike (mostly to your opponent’s 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.

高松伝の本


16

玉虎流骨指術


体拳 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 梧心 (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’.

蹴 Keri (Kicks)

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

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

足逆拳 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.

高松伝の本


17

玉虎流骨指術


三宝合掌 Sanpō Gasshō (Three Treasures Prayer)

天略字宙合掌 Tenryaku Uchū Gasshō (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 天略宇宙合掌 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 仁義礼智信地水火風空合掌 Jin 仁 (Understanding of Human) Gi 義 (Moral and ethical conduct) Rei 礼 (Courtesy) Chi 智 (Judgement and Wisdom) Shin 信 (Belief, Faith) Chi 地 (Earth), Sui 水 (Water), Ka 火(Fire), Fu 風 (Wind), Ku 空 (Air/Sky) Gassho 合掌 (prayer)

高松伝の本


18

玉虎流骨指術


地略天風の合掌 Chiryaku Tenpu no Gassho (Earth Strategy Heavens Wind Prayer) The thumb (Ku 空), and the forefinger (Fu 風) 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 護身合掌. 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 one’s protector. (You should be free like the power of the wind). When doing the Futen 風天, you should imagine that a Typhoon or whirlwind is spinning around you when you perform the Inso 印相. This will help protect you.

高松伝の本


19

玉虎流骨指術


人略反応盆溢の合掌 Jinryaku Hanno Funitsu no Gassho (Human Strategy Responsive Seething And Overflowing Prayer) The thumb (Ku 空), and the ring finger (Sui 水), 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 反応汎溢合掌. 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.

高松伝の本


20

玉虎流骨指術


構 Kamae (Posture)

一文字之構 Ichimonji no Kamae (Figure One Posture) From Hira no Kamae step back with the right foot. The feet are approximately 2 ½ 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 opponent’s eyes and create the intention of piercing through the opponent’s heart

高松伝の本


21

玉虎流骨指術


飛鳥之構 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 opponent’s 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.

高松伝の本


22

玉虎流骨指術


十文字之構 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 指刀拳 (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 opponent’s eyes with the feeling of repelling any attacks.

高松伝の本


23

玉虎流骨指術


体変術基本型 Taihenjutsu Kihon Kata (Body Changing Art Fundamental Forms) These are for practising the Gyokko Ryu’s basic ways of moving the body.

平之構 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.

一文字之構 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.

高松伝の本


24

玉虎流骨指術


十文字之構 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.

起型 Moto Gata (Awakening Patterns) These are for learning the circular movements, which are characteristic of the Gyokko Ryu

右一文字之構 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.

高松伝の本


25

玉虎流骨指術


左一文字之構 Hidari Ichimonji no Kamae (Left Figure One Posture) This is the same as the last technique, but done on the left.

右飛鳥之構 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.

左飛鳥之構 Hidari Hicho no Kamae (Left Flying Bird Posture) This is the same as the last technique, but done on the left.

高松伝の本


26

玉虎流骨指術


右十文字之構 Migi Jūmonji 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 Uke’s 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 Uke’s eyes as Metsubushi. Step back with the left leg into Migi Jūmonji no kamae. Zanshin.

左十文字之構 Hidari Jūmonji no kamae This is the same as the last technique, but done on the left.

捕手基本型 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

高松伝の本


27

玉虎流骨指術


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

その一右表逆 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 Uke’s hand off your lapel. Grab the Uke’s hand at the same time. Rise from the hips and use the push-up with your forearm under the Uke’s arm to take the Uke’s 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 Uke’s eyes as Metsubushi, and at the same time, twist the Uke’s wrist up. Grip the Uke’s 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 Uke’s wrist after the throw and maintain Zanshin.

その二左表逆 Sono Ni (No..2) Hidari Omote Gyaku (Left Outside Wrist Reverse) This is the same as the last technique, but done on the left.

高松伝の本


28

玉虎流骨指術


その三右表逆突 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 Uke’s 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 Uke’s wrist after the throw and maintain Zanshin.

その四左表逆突 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.

その五右裏逆 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 Uke’s grip.

高松伝の本


29

玉虎流骨指術


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 Uke’s hand. Roll the Uke’s 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 Uke’s wrist after the throw and maintain Zanshin.

その六左裏逆 Sono Roku (No.6) Hidari Ura Gyaku (Left Inside Wrist Reverse) This is the same as the last technique, but done on the left.

その七右武者捕 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 Uke’s elbow and continue to roll to lock the arm. As you raise your hips, press onto the Uke’s elbow from above with both hands. The Uke’s hand is caught in the crook of your outside elbow. Then, push to the Uke’s 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 Uke’s elbow and take the Uke down to the floor with this pressure. This is to break the elbow. Zanshin.

高松伝の本


30

玉虎流骨指術


その八左武者捕 Sono Hachi (No.8) Hidari Musha Dori (Left Warrior Capture) This is the same as the last technique, but done on the left.

その九右武剿捕 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 Uke’s 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 Uke’s shoulder. Zanshin.

その十左武剿捕 Sono Ju (No.10) Hidari Muso Dori (Left Warrior Destroy Capture) This is the same as the last technique, but done on the left.

高松伝の本


31

玉虎流骨指術


上略之巻 Jō ryaku no Maki

虚空 2. 輦輿 3. 彈手 4. 彈指 5. 逆流 6. 鳬鴎 7. 跳火 8. 闕倒 9. 指砕 10. 締脈 11. 殺締 12. 蹄拳 1.

高松伝の本

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


32

玉虎流骨指術


三宝合掌 Sanpō Gasshō (Three Treasures Prayer)

天略字宙合掌 Tenryaku Uchū Gasshō (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 天略宇宙合掌 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 仁義礼智信地水火風空合掌 Jin 仁 (Understanding of Human) Gi 義 (Moral and ethical conduct) Rei 礼 (Courtesy) Chi 智 (Judgement and Wisdom) Shin 信 (Belief, Faith) Chi 地 (Earth), Sui 水 (Water), Ka 火(Fire), Fu 風 (Wind), Ku 空 (Air/Sky) Gassho 合掌 (prayer)

高松伝の本


33

玉虎流骨指術


虚空 Kokū (Empty Space) Kuden This technique’s 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 Uchū Gasshō 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 Uke’s 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 Uke’s 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.

高松伝の本


34

玉虎流骨指術


輦輿 Renyo (Palanquin) Kuden This technique’s meaning is to make the Uke fall like a wheel. The locking method is what’s 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 Uchū Gasshō 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 Uke’s 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 Uke’s 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 Uke’s 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 Uke’s 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

高松伝の本


35

玉虎流骨指術


彈手 Danshu (Bouncing Hand) Kuden This technique’s 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 Uchū Gasshō 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 Uke’s elbow. As you raise your hips, press onto the Uke’s 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 Uke’s 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 Uke’s sleeve. Hold the left shoulder with your left hand and kick to the outside of the Uke’s left knee with your right foot to collapse the Uke’s leg. This is intended to break the knee. Then, place both hands on the Uke’s 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 Uke’s Butsumetsu with the right toes or, 2, The Uke’s Wakitsubo with the right heel. Zanshin.

高松伝の本


36

玉虎流骨指術


彈指 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 Uchū Gasshō 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.

高松伝の本


37

玉虎流骨指術


逆流 Saka Nagare (Reverse Flow) Kuden This technique means to reverse the flow. The thing here is to strike the back of the Uke’s hand / Hoshi when receiving on the outside, and when receiving the Uke’s kick, do so with a sideways swinging of the knee.

Both clasp both hands in Tenryaku Uchū Gasshō 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 Uke’s 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 Uke’s 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 Uke’s right hand with your left. Within this movement, capture the Uke’s hand with your right hand also (flowing motion after Omote Shuto). His will knock the Uke to the floor. Keep hold of the Uke’s wrist. Finish with a left kick to Wakitsubo. Zanshin.

高松伝の本


38

玉虎流骨指術


鳬鴎 Keō (Settling Seagull) Kuden The techniques meaning is the movement of a Seagull flapping it’s wings. What is important here is when striking down to both of the Uke’s hand’s, is to beat down in a large movement like the way a Seagull flaps it’s wings.

Both clasp both hands in Tenryaku Uchū Gasshō 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 Uke’s 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 Uke’s right Kasumi with a right Ura Shuto. Finish with a right kick to Butsumetsu. Zanshin.

高松伝の本


39

玉虎流骨指術


跳火 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 Uke’s 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 Uchū Gasshō 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 Uke’s hands off your collar and press the arm down / forward (stay low). Use the Uke’s little finger to control the Uke all the way through this movement. Also, use your right hand to control the Uke’s 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.

高松伝の本


40

玉虎流骨指術


闕倒 Ketō (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 Uchū Gasshō 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 Uke’s 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 Uke’s 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.

高松伝の本


41

玉虎流骨指術


指砕 Yubi Kudaki (Finger Break) Kuden This technique means to crush the Uke’s finger. The important point is to grasp the Uke’s 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 Uchū Gasshō 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 Uke’s 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 Uke’s hand with your right). Take the Uke’s hand off in a circular motion and crush the little finger with the right hand, while holding the Uke’s 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.

高松伝の本


42

玉虎流骨指術


締脈 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 Uke’s sankaku-jime attack is complete, and then to throw the Uke.

Both clasp both hands in Tenryaku Uchū Gasshō 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 Uke’s hand lightly with your left hand and place your right thumb on Hoshi. Press the thumb up into Hoshi, raising the Uke’s right arm slightly to release the choke (make sure you also have hold of the Uke’s sleeve at the elbow). Keep hold of the Uke’s left hand and left sleeve. Drop to the left knee to throw the Uke with Ippon Seoi-Nage. Keep hold of the Uke’s hand and sleeve, and stamp into Wakitsubo with the right foot to finish. Zanshin.

高松伝の本


43

玉虎流骨指術


殺締 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 Uchū Gasshō 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 Uke’s right hand with your right hand. Step to the right and strike to the Uke’s face with a left FudoKen. Follow this with placing your left arm behind the Uke’s upper arm. Drop the Uke with Ganseki-Otoshi (keep hold of the Uke’s hand). Press the hand down to compress the bones . Finish by stomping to Wakitsubo with the right foot. Zanshin.

高松伝の本


44

玉虎流骨指術


蹄拳 Tei Ken (Hoof Fist) Kuden This technique means the appearance of a bull kicking with it’s hooves. It is important to make sure your hips are far enough out to the left.

Both clasp both hands in Tenryaku Uchū Gasshō 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 Uke’s hands and apply pressure. Twist both of the Uke’s hands away from your body with Ura Gyaku. Slam your hips to the left while holding the Uke’s hands high (do this all at once). Bring the Uke’s hand’s forward to take balance. Place your right leg behind the Uke and bring the Uke’s hand’s in toward you. Pull the Uke’s hand’s 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.

高松伝の本


玉虎流骨指術

45



中略之巻 Chū ryaku no Maki 1. 2. 3. 4. 5. 6. 7. 8.

鳥鵲鯖倒女口手振虎落蜂先槹獅猿崩落

高松伝の本

Ujaku Seitō Dashin Kōrai Hōsen Kō Shien Hōraku


46

玉虎流骨指術


中略之巻 Chūryaku no Maki

三宝合掌 Sanpō Gasshō

地略天風の合掌 Chiryaku Tenpu no Gassho (Earth Strategy Heavens Wind Prayer) The thumb (Ku 空), and the forefinger (Fu 風) 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 護身合掌. 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 one’s protector. (You should be free like the power of the wind). When doing the Futen 風天, you should imagine that a Typhoon or whirlwind is spinning around you when you perform the Inso 印相. This will help protect you.

高松伝の本


47

玉虎流骨指術


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

Both clasp both hands in Futen Goshin Gasshō 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 Uke’s Butsumetsu with a left Shito Ken. At the same time lift the Uke’s right arm and slide your hand to catch the Uke’s hand in Omote Gyaku. Then, with the right foot, step across with Yoko Aruki passing under the Uke’s 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 ¾ circle, so that your legs are open and parallel. Keeping hold of the Uke’s hand, also grab this hand with your left hand, and throw by lifting the Uke’s hand up and at the same time move forward. Finish by kicking to Butsumetsu with the right heel. Then return to Ichimonji and Zanshin.

高松伝の本


48

玉虎流骨指術


鯖倒 Seitō (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 Uke’s shoulder with your right hand, reach across with the intention of at. Acking the Uke’s eyes (Metsubushi). Both clasp both hands in Futen Goshin Gasshō 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 Uke’s arm and then immediately catch the Uke’s wrist. Then, strike with the fingers of the right hand to the Uke’s eyes for Metsubushi. From the last movement, grab the Uke’s 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 Uke’s shoulder to drop the Uke down. Then get up (still maintain the grip on the Uke’s wrist) and kick to Wakitsubo with your left heel. Then return to Ichimonji and Zanshin.

高松伝の本


49

玉虎流骨指術


女口手振 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 Uke’s thumb with the shuto when you are knocking his short sword down.

Both clasp both hands in Futen Goshin Gasshō 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 Uke’s 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 Uke’s 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.

高松伝の本


50

玉虎流骨指術


虎落 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 Uke’s arm is to stick with your back against the Uke.

Both clasp both hands in Futen Goshin Gasshō 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 Uke’s short sword to stop him cutting you. (Control the Uke’s thumb). Finish with a stamp to the Uke’s head with the left foot. Then return to Ichimonji no Kamae and Zanshin.

高松伝の本


51

玉虎流骨指術


蜂先 Hōsen (Bee tip) Kuden The name of this technique means to knock the Uke down with a strike to the Uke’s throat. The strike in this technique was once called called Hōsen Ken (蜂先拳).

Both clasp both hands in Futen Goshin Gasshō 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 Uke’s 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 Uke’s 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 Uke’s chest to finish. Return to Ichimonji no Kamae. Zanshin.

高松伝の本


52

玉虎流骨指術


槹 Kō / Hane Tsurube (Well Bucket) Kuden The meaning of this technique is to use leverage. The important point is that you don’t attempt to catch the Uke’s 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.

その一 Sono Ichi (Number 1)

Both clasp both hands in Futen Goshin Gasshō 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 Uke’s right wrist lightly with your right hand. The Uke kicks with the right foot. Drop down low and scoop up under the Uke’s leg with the right arm while still holding the hand with the short sword. Finish by ramming your right hand into the Uke’s face and stepping forward with the right foot in order to throw the Uke. Then return to Ichimonji no Kamae and Zanshin.

高松伝の本


53

玉虎流骨指術


そのニ Sono Ni (Number 2) Both clasp both hands in Futen Goshin Gasshō 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 Uke’s 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 Uke’s leg on your right shoulder. Finish by ramming your right hand into the Uke’s face and stepping forward with the right foot in order to throw the Uke. Then return to Ichimonji no Kamae and Zanshin.

高松伝の本


54

玉虎流骨指術


獅猿 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 Uke’s 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 Gasshō 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 Uke’s 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 Uke’s hand in Ura Gyaku and kick up with the right foot into the Uke’s Kobura. With the left hand, catch the Uke’s 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.

高松伝の本


55

玉虎流骨指術


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

Both clasp both hands in Futen Goshin Gasshō 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 Uke’s arm under your right arm. Smash down to the Uke’s hand with your left palm in a manner similar to Take-Ori to make the Uke drop the short sword. Take hold of the Uke’s 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 Uke’s Kasumi (temple). This will put the Uke off-balance. Stamp onto the Uke’s 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 Uke’s hand raised). Finish by standing up, still controlling the Uke’s hand, and stamp on the Uke’s head with your right foot. Then return to Ichimonji no Kamae and Zanshin.

高松伝の本


56

玉虎流骨指術



下略之巻 Ge Ryaku no Maki

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

隼雄隼足一撃魁足掬掠意合封沈雁風孟

高松伝の本

Shun U Shun Soku Ichi Geki Kai Soku Kō Ryaku Iai Fū Chingan Fūmō


57

玉虎流骨指術


下略之巻 Ge ryaku no Maki

三宝合掌 Sanpō Gasshō

人略反応盆溢の合掌 Jinryaku Hanno Funitsu no Gassho (Human Strategy Responsive Seething and Overflowing Prayer)

The thumb (Ku 空), and the ring finger (Sui 水), 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 反応汎溢合掌. 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.

高松伝の本


58

玉虎流骨指術


隼雄 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 Uke’s 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 Gasshō 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 Uke’s 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 Uke’s 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 Uke’s stomach. Zanshin.

高松伝の本


59

玉虎流骨指術


隼足 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 Gasshō 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 Uke’s right wrist with your left hand. The scabbard is against the Uke’s arm just above the elbow. Drop your weight and press on the arm with the scabbard while anchoring the Uke’s right hand at your hip to drop the Uke face down to the floor. Finish by kicking with the right foot to the Uke’s side. Zanshin.

高松伝の本


60

玉虎流骨指術


一撃 Ichi Geki (One Blow) This technique’s meaning is to knock down the Uke in a single strike. What is important here is to is to push the Uke’s right elbow up high enough so as to create unbalance before the next movement.

Both clasp both hands in Hanno Hon Itsu Gasshō 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 Uke’s 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 Uke’s 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 Uke’s 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.

高松伝の本


61

玉虎流骨指術


魁足 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 Gasshō 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 Uke’s right hand with the right foot. This will knock the sword out of the Uke’s hand. The Uke goes to draw his short sword. Step onto the Uke’s right foot with your right foot and control the Uke’s 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 Uke’s hand from the short sword. Now, you open the Uke’s right hand out into Omote Gyaku with your left hand and hold the Uke’s shoulder with your right hand, and at the same time, kick the Uke’s right leg away with a right O-soto. Pin the Uke. Return to Ichimonji no Kamae. Zanshin

高松伝の本


62

玉虎流骨指術


掬掠 Kūryaku (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 Gasshō 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 Uke’s right hand with your left hand. Shift your weight to the left as you reach to grab the Uke’s 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 Uke’s right leg) for Sutemi. (as you are throwing your body down, pull the Uke’s arm to your stomach). Immediately get back up and return to Ichimonji no Kamae. Zanshin.

高松伝の本


63

玉虎流骨指術


意合封 Iai Fū (Sealing The Sword Draw) The meaning of this technique is to match the Uke’s 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 Gasshō 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 Uke’s 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.

高松伝の本


64

玉虎流骨指術


沈雁 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 Gasshō 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 Uke’s hands. Then, with your left hand on top and your right hand underneath, cup he Uke’s hands and raise the Uke’s 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 Uke’s hands to throw the Uke. Finish with a right kick to the Uke’s side. Return to Ichimonji no Kamae. Zanshin.

高松伝の本


65

玉虎流骨指術


風孟 Fūmō (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 Gasshō 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 Uke’s 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 Uke’s somach. For training purposes, step back with the left foot instead so that the cut misses the Uke.

高松伝の本


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.


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


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.


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


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 ToriÕs 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.


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. ToriÕs 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 ToriÕs 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.


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. ToriÕs 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


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


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 UkeÕs. 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.


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


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. ToriÕs 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.


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.


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 ToriÕs thigh. The right hand then comes up to the neck, and the left goes around the back to grab ToriÕs 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.


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 ArukiÕs 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 ToriÕs 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. ToriÕs 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 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.


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 toriÕs 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 ukeÕs 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 toriÕs 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 ukeÕs left elbow releasing the grab (all in one movement). Then tsuki the right end of the hanbo at ukeÕs 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.


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 ukeÕs butsumetsu and is left across the front of ukeÕs 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 ukeÕs 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 ukeÕs 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 ukeÕs 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.


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.


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 ukeÕs 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.


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 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.


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.


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 FuriÕs 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.


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.


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


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


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.


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.


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


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.


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.


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.


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.


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 BoÕs 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 inwardÕs 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


DAKENTAIJUTSU (YOROI KUMI UCHI) .............................................................................................. 3 KIHON KAMAE GATA (BASIC POSTURE FORMS) .................................................................................... 4 GOHÔ 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 HICHÔ NO KAMAE (Single Crane Posture)...................................................................................... 7 KÔSEI 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 HÔSETSU (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

CHÛDEN 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 (Tiger’s Tail) ........................................................................................................................ 29 JÛGAN (Heavy Rock)......................................................................................................................................... 30 SHIHÔ 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 RANPÛ (Disordered Wind) ................................................................................................................................ 43

OKUDEN NO KATA (INNER TRANSMISSION FORMS) .............................................................................. 44 FÛ 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 SETSUTÔ (Snow Topple)................................................................................................................................... 49 GÔTÔ (Defeating Strength) ................................................................................................................................ 50 DOFÛ (Wind Catches) ........................................................................................................................................ 51 ONI KUDAKI (Breaking the Demon) ................................................................................................................ 52 RYÛ 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

1

KO FUKI (Tiger Takedown) ............................................................................................................................... 58 RYÛ FUKU or RYU BUSE (Dragon Takedown) .............................................................................................. 59 TOBI CHIGAE (Walking Jump) ......................................................................................................................... 60 YAMA OTOSHI (Mountain Drop) ..................................................................................................................... 61 TÔ RAKU (Strike Down).................................................................................................................................... 62 SHÔ TÔ (Dissolve Hitting Down) ...................................................................................................................... 63 MUSASABI (Mongoose) .................................................................................................................................... 64 TAMA NAGE (Jewel Throw) ............................................................................................................................. 65 GYAKU NAGE (Reverse Throw) ...................................................................................................................... 66 UCHI HARAI (Sweeping Strike) ........................................................................................................................ 67

2

DAKENTAIJUTSU (yoroi kumi uchi)

th

“As I mentioned in ‘The History of the Kukishin Ryû’ Urabe Sukumi Kanesada, 11 Sôke of the Kishin Tosui Ryû, learned Kenpo from Sonjin-Shi Yoshihide, who had come to Japan from China during the years 1345-1349, and added it to the Tosui Ryû as Dakentaijutsu. Then in 1349 Izumo no Kanja Yoshiteru gave it the name Kishin Dakentaijutsu. Now, before making an explanation of Kukishin Ryû Dakentaijutsu I will introduce the “Gokui no Utaí” (“Poems of the Secret Principles”) found in the Kukishin Ryû 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 moon’s 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 water’s 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 one’s 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 enemy’s 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 opponent’s 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 budô. 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 don’t think you will get good results by thinking unnecessary thoughts) is very important.” Quote from Manaka Unsui

3

KIHON KAMAE GATA (Basic Posture Forms)

GOHÔ 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 opponent’s eyes.” Quote from Manaka Unsui

4

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 opponent’s eyes.” Quote from Manaka Unsui

5

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 opponent’s eyes.” Quote from Manaka Unsui

6

KATATE HICHÔ 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 opponent’s chest and keep your lightly clenched left fist against your left chest. Your eyes stare at the opponent’s eyes.” Quote from Manaka Unsui

7

KÔSEI 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

8

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 opponent’s 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 opponent’s grabbing hand with your left hand and thrust with the right. This is an important principle for kumi uchi. Then fold the opponent’s 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 opponent’s 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 one’s left leg so as to control the opponent’s 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 Sensei’s 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 opponent’s 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 opponent’s body roll over like a water wheel. Kicking upwards into the uchi mata (inner thigh), you finish by spinning the opponent’s 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 enemy’s 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

HÔSETSU (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 you’re 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, it’s 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 opponent’s 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 attacker’s helmet.” Quote from Hatsumi Sensei’s 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 technique’s 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 Jûmonji, 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 (jûmonji), catch the elbow joint in oni kudaki and go to osoto gake. The method of using the right hand when catching in jûmonji 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 jûmonji dori. As (T) applies Jûmonji 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 enemy’s 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

CHÛDEN 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 • Jûmonji, 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 jûmonji 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 opponent’s body flies up toward heaven and then falls flat on the ground. Receiving with jûmonji (crossed arms), you lock the wrist and elbow, kick upward and throw by sitting down. What is important is the principle of receiving in jûmonji.” 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 opponent’s arm in jûmonji. 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 opponent’s 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 opponent’s blows. This is to disarrange the opponent’s body, to make his center of gravity unstable. Then block in jûmonji, and kick in. From there, proceed to jerk the opponent down. Then drawing the yoroi dôshi (armor penetrating dagger), stab into the opponent’s vital point. Then cut the carotid artery.” Quote from Hatsumi Sensei’s 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 technique’s 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 opponent’s 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 technique’s 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 opponent’s 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 technique’s name comes from the image of a dragon wandering this way and that high in the air. Catching the opponent’s arm with one hand you grab the opponent’s 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 (Tiger’s 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 (Adam’s Apple), as you roll over (U). “The meaning of the technique is to wrap around like a tiger’s 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 opponent’s attacking arms in kumi uchi gata. From there, bringing your right hand to the opponent’s right hand, move with the body, take the opponent’s wrist, elbow and shoulder. Upset the center of balance of the opponent’s body. Then, with all your spirit, strike the opponent down. This is an important point. Against the opponent’s stab with the yoroi dôshi, 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 opponent’s visor to bring him down.” Quote from Hatsumi Sensei’s video

29

JÛGAN (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 opponent’s 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

SHIHÔ 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 technique’s name means to move the opponent broadly from side to side. In this technique you lock the opponent’s 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 opponent’s 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 opponent’s body flying in the same violent way as a horse bucks. Capturing the wrist joint, you break the body’s 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 opponent’s 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 jûmonji 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 ô 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 attacker’s wrist and elbow moves into a back throw, but doesn’t 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 one’s own accord. Kumi uchi with swords. The opponent’s grind their saya. From there, when one’s sword is knocked down, in close combat, the kabuto wari is effective. Deliver a crushing blow to the opponent’s 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 opponent’s 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 Sensei’s video “The technique’s 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 jûmonji (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 technique’s 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 technique’s meaning is to throw the opponent lightly and without effort, like seaweed floating on the water’s surface. Catching the elbow on the principle of oni kudaki, end by throwing with gyaku seoi nage.” Manaka Unsui

42

RANPÛ (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)

FÛ 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 jûmonji 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 • Jûmonji 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 • jûmonji 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 • Jûmonji 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

SETSUTÔ (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

GÔTÔ (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

DOFÛ (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 • Jûmonji 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 opponent’s right punch into oni kudaki. Take if from jûmonji. From there, by maneuvering the body and moving the legs, make the technique effective. Take a powerful hold on the opponent’s elbow and shoulder joints. Then take down. In spear fighting, when you have knocked down the opponent’s 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 opponent’s arm with the spear, apply oni kudaki, then push with the body.” Quote from Hatsumi Sensei’s video

52

RYÛ 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

RYÛ 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 opponent’s throw, drop the hips and strike in. It is most important here to strike into the opponent’s 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 opponent’s cut and take his naginata. Then strike into the opponent’s 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 opponent’s body. Pushing with the body, take out the opponent’s legs and push him down.” Quote from Hatsumi Sensei’s 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

TÔ 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

SHÔ TÔ (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 Sensei’s video

67

九鬼神伝流八法秘剣 Kukishinden Ryu Happo Biken

1




高松伝の本



2

九鬼神伝流八法秘剣 Kukishinden Ryu Happo Biken (Nine Demon Gods Transmission School Eight Methods Of Secret Sword)

高松伝の本



3


九鬼神伝流八法秘剣 Kukishinden Ryu Happo Biken (Nine Demon Gods Transmission School Eight Methods Of Secret Sword)

剣法 Kenpō (Fencing)

構 Kamae (Postures)

上段の構青眼の構中段の構下段の構天地の構一の構霞の構

Jodan no kamae

(Page 06)

Seigan no Kamae

(Page 06)

Chūdan no Kamae

(Page 07)

Gedan no Kamae

(Page 08)

Tenchi no kamae

(Page 08)

Ichi no Kamae

(Page 09)

Kasumi no Kamae

(Page 09)

高松伝の本



4

霞の法 Kasumi no Ho

(The Principle Of Haze)

(Page 10)

基本切 Kihon Kiri (Basic Cutting)

唐竹割胴切袈裟切逆袈裟切突

Karatake Wari

(Page 10)

Dō Giri

(Page 11)

Kesa Giri

(Page 11)

Gyaku Kesa Giri

(Page 11)

Tsuki

(Page 12)

秘剣の法 Hiken no Ho (Way of the Secret Sword)

1.

2.

3.

4.

付け込左右逆突き掛左右逆切上左右逆切下左右逆

Tsuke-Komi

(Page 13)

Sayū Gyaku

(Page 13)

Tsuki-Kake

(Page 14)

Sayū Gyaku

(Page 14)

Kiri-Age

(Page 15)

Sayū Gyaku

(Page 15)

Kiri-Sage

(Page 15)

Sayū Gyaku

(Page 16)

高松伝の本



銯止左右逆 6. 小蝶返し左右逆 7. 四方斬左右逆 8. 八方斬左右逆 9. 月の輪左右逆 10. 不動之剣遠撃渕必妙剣 5.

5

Kasugai Dome (Kinshi) (Page 16) Sayū Gyaku

(Page 17)

Kochō-gaeshi

(Page 17)

Sayū Gyaku

(Page17)

Shihō-Giri

(Page 18)

Sayū Gyaku

(Page18)

Happō-Giri

(Page 19)

Sayū Gyaku

(Page 19)

Tsuki no Wa

(Page 19)

Sayū Gyaku

(Page 20)

Fudō no Ken

(Page 20)

Engeki-Buchi

(Page 20)

Himyō-Ken

(Page 20)

高松伝の本



6

構構 Kamae (Postures)

上段の構上段の構

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.

青眼の構青眼の構

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 Uke’s 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 Uke’s 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.

高松伝の本



7

The feet are approximately 2 ½ 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 it’s pointed at the Uke’s eyes (imagine a straight line going from the tsuka, up the blade and straight to the Uke’s 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.

中段の構中段の構

Chūdan 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 Uke’s 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 Uke’s heart. Other than that, all the points are the same.

高松伝の本



8

下段の構下段の構

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 Uke’s 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 Uke’s foot. Stare the Uke firmly in the eyes. Apart from these differences, the kamae is the same as the previous.

天地の構天地の構

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).

高松伝の本



9

一の構一の構

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.

霞の構霞の構

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 Uke’s 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

高松伝の本



10

should make a point of offering your stomach as a target for the Uke to attack – this is important.

霞の法

霞の法 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 enemy’s spirit, secondly his technique and lastly you defeat his body. Using Kasumi no Ho, you can defeat multiple enemy’s without tiring.

切基本 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.

唐竹割唐竹割

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.

高松伝の本



11

胴切胴切

Dō Giri

(Torso Cut)

This is for cutting across the Uke’s 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 Uke’s torso (blade slices across the Uke’s right side ribs). Again, it is important to stop the cut at the point that the sword would exit the Uke’s left side ribs. Also perform this cut on the other side.

袈裟切

袈裟切

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 Uke’s left shoulder, down to the right hip (again the cut stops there – don’t carry on)

逆袈裟切逆袈裟切

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 Uke’s right hip through to the left shoulder.

高松伝の本



12

突突

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 Uke’s torso or throat.

高松伝の本



13

秘剣の法秘剣の法

Hiken no Ho (Way of the Secret Sword)

The meaning of “Sayu Gyaku” is a variation on the previous kata.

付け込付け込 Tsuke-Komi (Entering) The Uke begins from Daijodan no Kamae. Begin from Seigan no Kamae. Stare into the Uke’s 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 Uke’s breastplate. You must keep your arms straight with the sword as you do this.

左右逆左右逆

Sayū Gyaku (Opposite Position)

The Uke begins from any Kamae. Begin from Ichi no Kamae. As your sword is perpendicular to yours and the Uke’s 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 Uke’s sword to the left, rather evade and shield with the left side of your blade (if you choose to knock the Uke’s sword to the side, then do not make a big

高松伝の本



14

movement of it – stop your sword upon impact). Then, step in with your left foot and cut the right side of the Uke’s neck with a pushing cut. If the Uke attacks to your right side, just do the same technique but on the opposite side.

突き掛突き掛 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 Uke’s right side.

左右逆左右逆


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 Uke’s 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 Uke’s ribs right to left (Uke’s left side) 2. Step in with your left foot and cut across the Uke’s ribs - left to right (Uke’s right side) 3. Step in with either your left or right foot and thrust the sword powerfully through the Uke’s breastplate.

高松伝の本



15

切上切上

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 Uke’s right arm toward the left shoulder (this will send the Uke’s arms upwards). Re-align your wrists and thrust your sword into the Uke’s 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.

左右逆左右逆


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 Uke’s 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.

切下切下

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

高松伝の本



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 Uke’s 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 Uke’s left shoulder – the feeling when doing this is of pulling with your left elbow and pushing with your right

左右逆左右逆


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 Uke’s 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 Uke’s sword up (step in as you do this), Kick with your right foot to the Uke’s torso to knock him back and as your foot lands, Tsuki to finish.

銯止銯止 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 Uke’s wrists (Kote). The important point to this technique is to close the distance between yourself and the Uke like a vice.

高松伝の本



17

左右逆左右逆


This is the same as Kasugai Dome with a different ending – there are 2– 1, The finishing cut is a rising cut underneath the Uke’s wrists. 2, You finish by dropping the point of your sword back to Chudan, step in with your right foot and Tsuki.

小蝶返し小蝶返し Kochō-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 Uke’s Kote. The main point of this technique is to study the Uke’s strengths or weaknesses in skill level. Within this technique you must conserve energy and move lightly like a butterfly and gently close the distance.

左右逆左右逆 Sayū Gyaku (Opposite Position) This is the same as Kochō-gaeshi with a different ending – there are 2 – 1, The finishing cut is Kesa Giri to the Uke’s left shoulder.

高松伝の本



18

2, Cut in as if cutting to the Uke’s face (Metsubushi) and Tsuki through the Uke’s neck. (For both cuts, it’s a circular leap way to the right)

四方斬四方斬 Shihō-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 Uke’s 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 Uke’s right Hip to the left shoulder – then with a left step, Tsuki. The main point is to keep moving forwards throughout the technique.

左右逆左右逆 Sayū Gyaku (Opposite Position) This is the same as Shihō-Giri with a different ending – there are 2 – 1, Instead of finishing with a Tsuki, finish with Karatake Wari to the Uke’s head. 2, Finish with a rising cut to the Uke’s lower legs. This cut is called ‘Gyaku Suso Barai’ (either side is fine to cut from – the Uke’s position and your position will determine the Taijutsu for this).

高松伝の本



19

八方斬八方斬

Happō-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.

左右逆左右逆


This is the same as Happō-Giri – only instead of the second Kesa Giri, replace this cut with Karatake Wari to the Uke’s head.

月の輪月の輪

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 (一刃一足 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.

高松伝の本



20

左右逆左右逆


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.

不動之剣不動之剣

Fudō no Ken (Immoveable Sword)

Kuden

遠撃渕遠撃渕

Engeki-Fuchi (Attacking The Edge From Afar)

Kuden

必妙剣必妙剣

Himyō-Ken (Delicate Sword)

Kuden

高松伝の本


九鬼神流小太刀

Kukishin Ryu Kodachi Dori

1




高松伝の本




2

九鬼神流小太刀捕九鬼神流小太刀捕 Kukishin Ryu Kodachi Dori (Nine Demon Gods School Small Sword Art)

高松伝の本




3


九鬼神流小太刀捕 Kukishin Ryu Kodachi Dori (Nine Demon Gods School Small Sword Art)


青眼の構 Seigan no kamae (Correct Eye Posture)

中青眼の構

Naka Seigan no kamae (Side Correct Eye Posture)

自然の構

Shizen no kamae (Natural Posture)

小太刀術 Kodachijutsu (Small Sword Art)

飛鳥之剣 Hichō no Ken (3 ura gata) (Flying Bird Sword)

高松伝の本




4

獅子撃 Shishi Geki (2 ura gata) (Chinese Lion Attacks)

十字剣 Jūji Ken (2 ura gata) (Cross Swords)


青眼の構青眼の構 Seigan no kamae (Correct Eye Posture) The feet are approximately 2 ½ 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 Uke’s 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

高松伝の本




5

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 Uke’s movement in any way you wish.

中青眼の構中青眼の構 Naka Seigan no kamae (Side Correct Eye Posture) The feet are approximately 2 ½ 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 Uke’s 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 Uke’s heart.

高松伝の本




6

自然の構自然の構 Shizen no kamae (Natural Posture) This Kamae is also known as Otonashi no Kamae (音無しの構 – 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 Uke’s eyes with the intention of inviting the Uke to attack you.

小太刀術小太刀術 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.

飛鳥之剣飛鳥之剣

Hichō 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

高松伝の本




7

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 Uke’s 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 Uke’s left hand with your left hand and slice across the Uke’s 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 Uke’s 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 Uke’s arms (Kiri Age - left to right), then

高松伝の本




8

immediately drop to your left knee and cut to the Uke’s 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 Uke’s 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.

獅子撃獅子撃 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

高松伝の本




9

(Kissaki at the lowest point to your left side – this is the same as Rokushakubojutsu Jodan Uke). The force of the Uke’s 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 Uke’s 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 Uke’s 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 Uke’s 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 Uke’s 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 Uke’s 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 Uke’s 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 Uke’s chest, step up between the Uke’s legs with your right foot and thrust the Kodachi through the Uke’s throat the same way a volcano explodes upwards (the last part is done in one movement).

高松伝の本




10

十字剣十字剣 Jūji 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 Uke’s sword is to your right) and place your left hand on the Uke’s 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 Uke’s 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 Uke’s 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 Uke’s right foot. From this position, Tsuki into the Uke’s 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.

高松伝の本




11

Ura Gata 2 The Uke begins in Bikenjutsu Seigan no Kamae. Begin in Shizen no Kamae and just wait for the Uke’s 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 Uke’s Tsuba and push down. The Uke resists this. As you step in with the left, place your left hand on the Uke’s 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.

高松伝の本


九鬼神流杖術

Kukishin Ryu Jojutsu

1




高松伝の本


九鬼神流杖術


2

九鬼神流杖術九鬼神流杖術 Kukishin Ryu Jojutsu (Nine Demon Gods School Cane Art)

高松伝の本


九鬼神流杖術


3


九鬼神流杖術 Kukishin Ryu Jojutsu (Nine Demon Gods School Cane Art)


中段の構 Chudan no Kamae (Middle Level Posture)

下段の構

Gedan no Kamae (Low Level Posture)

一文字の構

Ichimonji no Kamae (Figure One Posture)

青眼の構

Seigan no kamae (Correct Eye Posture)

詥変の構

Kyohen no Kamae (Posture Of Change – also known as Ihen)

天地人の構

Tenchijin no Kamae (Posture Of Heaven, Earth And Man)

自然の構

Shizen no kamae (Natural Posture)

高松伝の本


九鬼神流杖術


4

基本型 Kihon Gata (Fundamental Forms)

上段受け Jodan Uke (Upper Receiving)

面打ち

Men Uchi (Head Strike – the Kanji for Men means face)

同打ち

Do Uchi (Side Strike)

足払

Ashi Barai (Lower Leg Strike – literal meaning is tripping up)

小手打ち

Kote Uchi (Wrist Strike)

下段打ち

Gedan Uchi (Lower Strike)

跳上げ

Hane Age (Striking Upwards)

小手返打ち

Kote Gaeshi Uchi (Turning Wrist Strike)

突

Tsuki (Thrust)

高松伝の本


九鬼神流杖術


5

杖術型 Jojutsu Kata (Cane Art Forms)

十文字 Jumonji (Figure Ten – The Cross)

六法

Roppo (Six Ways)

九法

Kyu Ho (Nine Ways)

飛龍

Hiryu (Flying Dragon)

付入

Tsuke Iri (Entering Thrust)

霞掛

Kasumi Gake (Haze Trap)

腕掛

Ude Gake (Arm Trap)

小手返

Kote Gaeshi (Hands Against)

太刀落

Tachi Otoshi (Sword Drop)

高松伝の本


九鬼神流杖術


6


中段の構中段の構 Chudan no Kamae (Middle Level Posture) Kuden – Stare into the Uke’s 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 ½ 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 Uke’s 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.

高松伝の本


九鬼神流杖術


7

下段の構下段の構 Gedan no Kamae (Low Level Posture) Kuden – Stare into the Uke’s 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.

一文字の構一文字の構 Ichimonji no Kamae (Figure One Posture) Kuden – Stare into the Uke’s 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.

高松伝の本


九鬼神流杖術


8

青眼の構青眼の構 Seigan no kamae (Correct Eye Posture) Kuden – Stare into the Uke’s 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 Uke’s eyes. Keep your elbows in. This Kamae is done on the left side and the right side.

詥変の構詥変の構 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 Uke’s 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

高松伝の本


九鬼神流杖術


9

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.

天地人の構天地人の構 Tenchijin no Kamae (Posture Of Heaven, Earth And Man) Kuden – Stare into the Uke’s 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.

自然の構自然の構 Shizen no kamae (Natural Posture) Kuden – Stare into the Uke’s 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.

高松伝の本


九鬼神流杖術


10

基本型基本型 Kihon Gata (Fundamental Forms)

上段受け上段受け 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 (don’t 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 Uke’s cut at the right forearm position with the Jo to allow the cut to slide off the Jo.

高松伝の本


九鬼神流杖術


11

面打ち面打ち 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 Uke’s 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.

同打ち同打ち 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

高松伝の本


九鬼神流杖術


12

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.

足払足払 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 Uke’s 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.

高松伝の本


九鬼神流杖術


13

小手打ち小手打ち 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 Uke’s 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 Uke’s 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.

下段打ち下段打ち 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 Uke’s groin. Bring your body

高松伝の本


九鬼神流杖術


14

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 Uke’s 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.

跳上げ跳上げ 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 Uke’s wrists to knock the Uke’s 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 Uke’s

高松伝の本


九鬼神流杖術


15

wrists to knock the Uke’s 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.

小手返打ち小手返打ち 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 Uke’s 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 Uke’s 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.

突突 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

高松伝の本


九鬼神流杖術


16

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.

高松伝の本


九鬼神流杖術


17

杖術型杖術型 Jojutsu Kata (Cane Art Forms)

十文字十文字 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 Uke’s 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 Uke’s 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 Uke’s 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 Uke’s 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 Uke’s left side Kasumi. Return to Kyohen no Kamae and Zanshin.

高松伝の本


九鬼神流杖術


18

六法六法 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 Uke’s 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.

九法九法 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 Uke’s 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 Uke’s 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 Uke’s rear leg. Step back with your right leg, return to Chudan no Kamae and Zanshin.

高松伝の本


九鬼神流杖術


19

飛龍飛龍 Hiryu (Flying Dragon) Kuden – This Kata’s 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 Uke’s 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 Uke’s head. Step in with your right foot and strike with Do Uchi to the Uke’s right side. Switch foot positions (left forwards) and strike up to the Uke’s groin with Gedan Uchi. Step in with your right leg and Strike to the Uke’s left Kasumi with Yoko Men Uchi. Without moving your feet, strike to the inside of the Uke’s 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 Uke’s left side with Do Uchi. Step back with your right leg , return to Tenchijin no Kamae and Zanshin.

付入付入 Tsuke Iri (Entering Thrust) Kuden – This Kata means to strike the Uke’s 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 Uke’s 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 Uke’s left side. Step back with the right leg and finish by entering into Chudan no Kamae and Zanshin.

高松伝の本


九鬼神流杖術


20

霞掛霞掛 Kasumi Gake (Haze Trap) Kuden - This kata means you strike the Uke’s 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 Uke’s 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.

腕掛腕掛 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 Uke’s wrists/forearms (recapture with the left hand just before the strike). Pull your right leg back and return to Ichimonji no Kamae and Zanshin.

高松伝の本


九鬼神流杖術


21

小手返小手返 Kote Gaeshi (Hands Against) Kuden - The kats’s 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 Uke’s 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 Uke’s right side. Return to Seigan no Kamae and Zanshin.

太刀落太刀落 Tachi Otoshi (Sword Drop) Kuden - The kats’s 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 Uke’s wrists/forearms (shift your body weight onto your back leg). Switch step quickly (left foot forwards) and and strike under the Uke’s 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.

高松伝の本


1

虎倒流骨法術

Kotō Ryū Koppōjutsu




高松伝の本


2

虎倒流骨法術


虎倒流骨法術 Koto Ryu Koppojutsu (Tiger knocking down school)

高松伝の本


3

虎倒流骨法術

高松伝の本



4

虎倒流骨法術


虎倒流骨法術 Kotō Ryū Koppōjutsu (Tiger Knocking Down School)

五法之位取 Gohō no Kurai Dori (5 Ways Of Taking Proper Position)

右正眼之構 Migi Seigan no kamae (Right Correct Eye Posture)

左正眼之構

Hidari Seigan no kamae (Left Correct Eye Posture)

平一文字之構

Hira Ichimonji no kamae (Flat Figure One Posture)

抱圍之構

Hōko no kamae (Encircling Receiving Posture)

防備之構

Bōbi no kamae (Defensive Posture)

高松伝の本


5

虎倒流骨法術


基本型 Kihon Gata (Basic Forms)

起型 Moto Gata

右正眼之構 Migi Seigan no kamae (Right Correct Eye Posture)

左正眼之構

Hidari Seigan no kamae (Left Correct Eye Posture)

平一文字之構

Hira Ichimonji no kamae (Flat Figure One Posture)

抱圍之構

Hōko no kamae (2 kata) (Encircling Receiving Posture)

防備之構

Bōbi no kamae (Defensive Posture)


その一 (右表逆) Soni Ichi (Migi Omote Gyaku)

その二 (左表逆)

Soni Ni (Hidari Omote Gyaku)

その三 (右表逆突) Sono San (Migi Omote Gyaku Tsuki)

高松伝の本


6

虎倒流骨法術


その四 (左表逆突) Sono Yon (Hidari Omote Gyaku Tsuki)

その五 (右裏逆) Sono Go (Migi Ura Gyaku)

その六 (左裏逆) Sono Roku (Hidari Ura Gyaku)

その七 (右武者捕) Sono Shichi (Migi Musha Dori)

その八 (左武者捕) Sono Hachi (Hidari Musha Dori)

その九 (右武剿捕) Sono Kyu (Migi Muso Dori)

その十 (左武剿捕) Sono Ju (Hidari Muso Dori)

高松伝の本


7

虎倒流骨法術


当て身 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 don’t strike the attacking limb too hard. This is Uke Nagashi.

不動拳 (仁王拳) 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.

指環拳 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.

高松伝の本


8

虎倒流骨法術


表手刀/裏手刀 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.

前方蹴り 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.

隠し蹴り 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).

高松伝の本


9

虎倒流骨法術


側方蹴り 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)

後方蹴り 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.

高松伝の本


10

虎倒流骨法術


五法之位取 Gohō no Kurai Dori (5 Ways Of Taking Proper Position)

右正眼之構 Migi Seigan no kamae (Right Correct Eye Posture) From Hira no Kamae step back with the left foot. The feet are approximately 2 ½ 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 Uke’s 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 Uke’s eyes with the intention of using your will to make the Uke do as you wish.

高松伝の本


11

虎倒流骨法術


左正眼之構 Hidari Seigan no kamae (Left Correct Eye Posture) From Hira no Kamae step back with the right foot. The feet are approximately 2 ½ 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 Uke’s 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 Uke’s eyes with the intention of using your will to make the Uke do as you wish.

高松伝の本


12

虎倒流骨法術


平一文字之構 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 Uke’s force to go by, or confining the Uke’s movements.

抱圍之構 Hōko 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 Uke’s eyes with a feeling of either repelling an attack from any directions, or of hugging in and of crushing.

高松伝の本


13

虎倒流骨法術


防備之構 Bōbi 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 Uke’s 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 Uke’s eyes with a powerfull feeling of either sweeping away attacks from the Uke, or of smashing the Uke apart with the rear hand.

高松伝の本


14

虎倒流骨法術


基本型 Kihon Gata (Basic Forms) The main point of the Kihon Gata is to take and control the Uke’s 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.

起型 Moto Gata

右正眼之構 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 Uke’s 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.

高松伝の本


15

虎倒流骨法術


左正眼之構 Hidari Seigan no kamae (Left Correct Eye Posture) This is the same as the last technique, but done on the left.

平一文字之構 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 Uke’s 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 Uke’s right foot) and strike down to the back of the Uke’s neck with a right Ura Shuto. Zanshin. Do this on both sides.

抱圍之構 Hōko 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.

高松伝の本


16

虎倒流骨法術


その一 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 Uke’s elbow and rise up/push up to take the Uke’s balance and step forwards with the left foot and strike to the Uke’s neck with Omote Shuto. Zanshin. Do this on both sides.

その二 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 Uke’s elbow and rise up/push up to take the Uke’s 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.

防備之構 Bōbi 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 Uke’s attack with Uke Nagashi. Now,

高松伝の本


17

虎倒流骨法術


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 Uke’s 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 Uke’s Suigetsu with a left Fudo Ken.


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.

その一右表逆 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 Uke’s hand off your lapel. Grab the Uke’s hand at the same time. Rise from the hips and use the push-up with your forearm under the Uke’s arm to take the Uke’s 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 Uke’s eyes as Metsubushi, and at the same time, twist the Uke’s wrist up. Grip the Uke’s 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 Uke’s wrist down. As you finish Yoko Aruki, when the right foot lands,

高松伝の本


18

虎倒流骨法術


drop your weight and press the Uke’s wrist down to restrain/break the wrist (this will prevent the Uke from escaping with Taihenjutsu). Step back into Seigan no Kamae and Zanshin.

その二左表逆 Sono Ni (No..2) Hidari Omote Gyaku (Left Outside Wrist Reverse) This is the same as the last technique, but done on the left.

その三右表逆突 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 Uke’s 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 Uke’s wrist down. As you finish Yoko Aruki, when the right foot lands, drop your weight and press the Uke’s wrist down to restrain/break the wrist (this will prevent the Uke from escaping with Taihenjutsu). Step back into Seigan no Kamae and Zanshin.

高松伝の本


19

虎倒流骨法術


その四左表逆突 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.

その五右裏逆 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 Uke’s 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 Uke’s hand. Roll the Uke’s 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 Uke’s wrist down. As you finish Yoko Aruki, when the right foot lands, drop your weight and press the Uke’s wrist down to restrain/break the wrist (this will prevent the Uke from escaping with Taihenjutsu). Step back into Seigan no Kamae and Zanshin.

その六左裏逆 Sono Roku (No.6) Hidari Ura Gyaku (Left Inside Wrist Reverse) This is the same as the last technique, but done on the left.

高松伝の本


20

虎倒流骨法術


その七右武者捕 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 Uke’s elbow and continue to roll to lock the arm. As you raise your hips, press onto the Uke’s elbow from above with both hands. The Uke’s hand is caught in the crook of your outside elbow. Then, push to the Uke’s 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 Uke’s 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.

その八左武者捕 Sono Hachi (No.8) Hidari Musha Dori (Left Warrior Capture) This is the same as the last technique, but done on the left.

その九右武剿捕 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 Uke’s arm with your right arm from above with a big wrapping movement. Also, adjust your feet so that you are

高松伝の本


21

虎倒流骨法術


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 Uke’s shoulder. Zanshin. This is the same as the Gyokko Ryu.

その十左武剿捕 Sono Ju (No.10) Hidari Muso Dori (Left Warrior Destroy Capture) This is the same as the last technique, but done on the left.

高松伝の本


22

虎倒流骨法術


虎倒流初傳中極意急所図 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 裏鬼門 - the gap between the 4th and 5th ribs right under the nipples Yanagi Kaze 柳風 - The Adam’s apple Rangiku (Kasumi) 乱菊- The temple Hiryuran 飛龍乱- Eyeball Shi Shi Ran (Suigetsu 水月) 獅子乱- The area just a bit lower than the pit of the stomach. Kyosei 虎勢 (Suzu 鈴) - The testicles Yugasumi 夕霞- The soft area right below the earlobe Ryumon 龍門- The soft area on/near the clavicle Jugiro 十字路 - The front part of the shoulder bone Jinchu 人中- The area below the nose, upper lip Hachi-Yo 八葉- The ear Menbu 面部- The face and forehead Shoku Kotsu 独骨- The Adam’s apple Itsuwa Tsuki Kage 五輪月影 - The right side of the area around the navel (Gorin 五輪 along side the navel) Itsuwa Inazuma 五輪稲妻 - The left side of the area around the navel (Gorin 五輪 Along side the navel) Sai 摧〔谷〕- The inner thigh (Left thigh) U-Sai 右摧 - The right inner thigh Yaku 扼 - The calf Murasame 村雨- Area immediately below the Adam’s apple Hoshizawa 星沢- The elbow joint U-In 右陰- Area immediately below the right eye Sa-In 左陰- Area immediately below the left eye Tento 天頭- Top of the head Shinchu 心中- The chest Wakitsubo 脇壷 -The armpit and ribs in the immediate area. Kenkotsu 健骨- (root of the fist). This can also mean shoulder blade.

高松伝の本


23

虎倒流骨法術


(Hatsumi has used an old and unusual word that is not in a Japanese dictionary) Shikotsu 指骨- Root of the thumb Butsumetsu 物滅 - The side of the ribs Jyaku Kotsu 弱骨 (Hoshishita 星下) - The gap between the upper and lower bones of the arm at the elbow joint. Daimon 大門- The gap near the shoulder joint Asagasumi 朝霞- The chin Hoshi 星- The armpit Kimon 鬼門- The nipple Kinketsu 禁穴- The ribs Koshitsubo 腰壷- Inside the hip bones Koe 声- The leg joint Tenmon 天門- Above and below the eyes and nose Amato 雨戸- Area where the lymph glands are, about 2 inches (5cm) below the ear. Kyokei 強経 - The toes Hadome (Kasumi Kaeshi) 歯止- One inch below the ear

高松伝の本


24

虎倒流骨法術


初伝型 Shoden Gata 抑倒押虐抗抑指倒捕捉放擲斜倒掛倒搾撃擔撃抜技折倒指拍拒技括拷浦波天地片巻

Yokutō Ō Gyaku Kōyoku Shitō Hosoku Hōteki Shatō Ketō Saku Geki Tan Geki Batsugi Settō Shihaku Kyogi Kakkō 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.

高松伝の本


25

虎倒流骨法術


抑倒 Yokutō (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 Uke’s right hand lightly with your left hand. Move your left heel to by your right foot’s 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.

押虐 Ō 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 Uke’s 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 Uke’s right knee to prevent the throw if he is stronger or more skilled than you). As you drive your thumb into Shichibatsu

高松伝の本


26

虎倒流骨法術


(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.

抗抑 Kōyoku (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 Uke’s 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 Uke’s right arm from below with your left (at the point just above the Uke’s elbow). Then pass your left leg through the Uke’s legs (the back of your thigh should be in contact with the Uke’s right leg). Lastly, twist your hips clockwise to throw the Uke with Ganseki Nage. Back to Seigan no Kamae and Zanshin.

高松伝の本


27

虎倒流骨法術


指倒 Shitō (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 Uke’s 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 Uke’s 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.

捕捉 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 Uke’s left hand with your right and step off to the right side with your right leg, drop

高松伝の本


28

虎倒流骨法術


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 Uke’s left Koe with your thumb. This will make the Uke’s upper body come forward – also control the Uke’s 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 Uke’s 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.

放擲 Hōteki (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 Uke’s 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 Uke’s. 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 Uke’s 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 Uke’s right foot) and at the same time grab to the crease of the Uke’s 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 Uke’s right foot

高松伝の本


29

虎倒流骨法術


and throw with Koshi Nage. Zanshin

Finish with Seigan no Kamae and

斜倒 Shatō (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 Uke’s 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 Uke’s. Drop your hips and receive the attack with a left Uke Nagashi. Without stepping, lean your body weight to the left and strike the Uke’s 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.

掛倒 Ketō (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 Uke’s 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.

高松伝の本


30

虎倒流骨法術


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.

搾撃 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.

擔撃 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

高松伝の本


31

虎倒流骨法術


the Uke’s 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 Uke’s 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.

抜技 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 Uke’s hand from your lapel (keep hold of the Uke’s hand). The immediately twist your hips counter clockwise, shift your weight to your left, and strike the left side of the Uke’s face with the tips of your right hand’s fingers (Goshi Ken – to the eye and cheek area) (Keep control of the Uke’s 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 Uke’s right hand and push the Uke’s 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 –

高松伝の本


32

虎倒流骨法術


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.

折倒 Settō (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 Uke’s 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 Uke’s right side ribs. Then twist your hips clockwise and lean slightly towards the Uke as you strike with a left Boshi Ken to the Uke’s 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 Uke’s elbow. Also, Boshi Ken can be weak if the strike is not conditioned, if this is the case, replace this strike with Shikan Ken.

指拍 Shihaku (Finger Clap) Kuden – This technique means to capture the Uke’s rythem. What is important here is to deceive the Uke into thinking that you are going to kick.

高松伝の本


33

虎倒流骨法術


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 Uke’s 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.

拒技 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 Uke’s 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 Uke’s Gorin with a

高松伝の本


34

虎倒流骨法術


right Fudo Ken (rotate the hips counter clockwise for this). Then back to Seigan no Kamae and Zanshin.

括拷 Kakkō (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 Uke’s 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 it’s paw. As you kick, place your fingers at the same time). Then return to Seigan no Kamae and Zanshin.

高松伝の本


35

虎倒流骨法術


浦波 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 Uke’s head towards you which will make the strike to the Uke’s 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 Uke’s 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.

天地 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.

高松伝の本


36

虎倒流骨法術


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 Uke’s face forwards. As your right foot comes to the floor, strike the Uke’s 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.

片巻 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 Uke’s left leg and deflect the Uke’s 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 Uke’s left arm into Musha Dori (only use your right arm to do this). Lastly, as you sink to your left knee strike the Uke’s Kimon or Butsumetsu with a left Boshi Ken with a feeling of driving it through. Then back to Seigan no Kamae and Zanshin.

高松伝の本


37

虎倒流骨法術


中伝型 Chūden Gata 飛打飛搾飛鳥飛倒括飛捫飛反倒鼯飛撇飛擲返喉倒攫飛

Hida Hisaku Hichō Hitō Kappi Monpi Suitō Go Hi He Hi / Heppi Teki Gaeshi Kōtō Kakuhi

Kuden – The Chuden Gata is training for making the body movements nimble. This level’s 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.

高松伝の本


38

虎倒流骨法術


飛打 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 Uke’s right Kasumi with a right Ura Shuto (this will transfer the Uke’s weight to his left leg as he falls). Then immediately place the balls / toes of your right foot to the Uke’s 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.

飛搾 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 Uke’s left Uko with a right Boshi Ken. Then immediately grab the Uke’s shoulders with both hands and leap up and wrap your legs around the Uke’s waist. At this point hook your own feet together and choke the Uke’s body with your legs. Then

高松伝の本


39

虎倒流骨法術


keep the pressure on the waist and allow your upper to drop (not to the floor at this point) and wrap around the Uke’s legs with your arms. Slide to the floor and pull the Uke’s 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 Uke’s left leg with your left arm, wrap your right arm around the Uke’s 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 Uke’s torso up – as it does, kick with your right heel down to the Uke’s chest as you escape with Koho Kaiten.

飛鳥 Hichō (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.

飛倒 Hitō (Flying Fall) Kuden – The name of this technique means to leap and to knock the Uke down.

高松伝の本


40

虎倒流骨法術


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 hand’s ring, middle and index fingers (tips together – also known as Sanshitan Ken) to the Uke’s left side Kimon from above (this will make the Uke slump). Finish him by leaping up and striking with both feet (toes) to the Uke’s right and left Butsumetsu simultaneously. From this, drop down into Koho Kaiten (backwards roll) and come up into Seigan no Kamae and Zanshin.

括飛 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 Uke’s 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 Uke’s left Uko. Finish by leaping back to the rear into Seigan no Kamae and Zanshin.

捫飛 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 Uke’s 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

高松伝の本


41

虎倒流骨法術


the Uke slump to his right side. At this point, the Uke’s weight is on his right leg and the Kyusho on the Uke’s right leg called Koe is now exposed – jump up and kick across to the Uke’s 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.

反倒 Suitō (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 Uke’s right Butsumetsu with a right Koppo Ken and then immediately strike the Uke’s 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 Uke’s 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 Uke’s left leg with your right leg and pull your left leg back – twist your body counter clockwise and bring the Uke’s 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.

高松伝の本


42

虎倒流骨法術


鼯飛 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.

撇飛 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 Uke’s face. Then leap back to a distance of about 6 feet into Seigan no Kamae. Zanshin.

擲返 Teki Gaeshi (Renounce And Send Away) Kuden – This technique means to strike, throw and turn over.

高松伝の本


43

虎倒流骨法術


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.

喉倒 Kōtō (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.

攫飛 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 Uke’s 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 Uke’s sleeve and push the Uke’s

高松伝の本


44

虎倒流骨法術


chin at this point) and kick upwards to the Uke’s 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.

高松伝の本


45

虎倒流骨法術


奥伝型 Okuden Gata 攅當攅倒虎倒神剪梱飛女口手摺

抓摺抓倒扣鬼鬼門乱雪裏鬼門

Santō Santō Kotō Shinsen Kompi Sho Setsu Sō Setsu Sōtō Kōki 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.

高松伝の本


46

虎倒流骨法術


攅當 Santō (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 Uke’s 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 Uke’s 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.

攅倒 Santō (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 Uke’s shoto (between 45 / 90 degrees from the original position). Then, place your left palm against the Uke’s right wrist to cover, then, either strike with your finger tips or the palm of your right hand to the Uke’s right Hoshi to damage / shock the Uke’s elbow. Then, grab the Uke’s wrist with your left

高松伝の本


47

虎倒流骨法術


hand (lean in to catch) and then strike the Uke’s 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 Uke’s right hand in Ura Gyaku (your left hand also holds the Uke’s right) and step slightly to the right with the right foot and bring the Uke’s wrist to your chest in Ura Gyaku. Then kick with the left toes to the Uke’s left Sai (middle inner thigh), then drop this foot to the floor and push the Uke’s right wrist forwards to make him fall to the floor (kick – drop and push at the same time – match the speed of the Uke’s fall). Enter into Seigan no Kamae and Zanshin.

虎倒 Kotō (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 Uke’s 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.

高松伝の本


48

虎倒流骨法術


神剪 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.

梱飛 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 Uke’s right side). As you land, strike to the Uke’s 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.

高松伝の本


49

虎倒流骨法術


女口手摺 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.

抓摺 Sō 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 Uke’s 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 Uke’s 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.

高松伝の本


50

虎倒流骨法術


抓倒 Sōtō (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 Uke’s 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 Uke’s legs and place your right foot onto the Uke’s left side Koe – throw the Uke with Tomoe Gaeshi (straight up and over you landing onto his back). Follow the Uke’s 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.

扣鬼 Kōki (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.

高松伝の本


51

虎倒流骨法術


鬼門 Kimon (Demon Gate) Kuden – The techniques name means that you grab the Uke’s Kimon to throw. The Uke approaches you. When he is in range, step in with your right foot and grab under the Uke’s 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 Uke’s 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 Uke’s 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.

乱雪 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 Uke’s 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 Uke’s 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 Uke’s body. This technique is a type of technique known as Sutemi (to sacrifice). Then, back to Seigan no Kamae and Zanshin.

高松伝の本


52

虎倒流骨法術


裏鬼門 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.

高松伝の本


53

虎倒流骨法術


壁刀型捌型 Hekitō Gata (Sabaki Gata) 蹴朴朴返打扣手力跂望跋扈跖力跨飛

Sokuboku Bokuhen Damara Shuriki Kibō 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.

高松伝の本


54

虎倒流骨法術


蹴朴 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 Uke’s hands with your right foot to kick his sword from his hands. Your right foot lands from the kick to the inside of the Uke’s 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.

朴返 Bokuhen (Simple Reply) Kuden – This technique’s 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 enemy’s 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 Uke’s 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 Uke’s left elbow with your right hand – press into left Hoshi with you right thumb and press the Uke’s left arm up (pull your left foot slightly forwards to help with the push and to aid the next movement). Then, kick to the Uke’s Suigetsu with your right foot to knock him down. Then return to Seigan no Kamae and Zanshin.

高松伝の本


55

虎倒流骨法術


打扣 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 Uke’s 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 Uke’s hands with a right Fudo Ken to make the Uke drop his sword. Immediately catch the Uke’s 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.

手力 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 Uke’s right side and strike with a right Omote Shuto to the Uke’s eyes / bridge of the nose to take him down. Finish in Seigan no Kamae or Bobi no Kamae and Zanshin.

高松伝の本


56

虎倒流骨法術


跂望 Kibō (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 Uke’s wrists with your left hand and twist your hips counter clockwise and strike across to the Uke’s 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 Uke’s Suigetsu with your right foot to knock him over. Then back to Seigan no Kamae and Zanshin.

跋扈 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 enemy’s 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 Uke’s Jinchu with the feeling that he is running into the strike. Return to Seigan no Kamae or Bobi no Kamae and Zanshin.

高松伝の本


57

虎倒流骨法術


跖力 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 Uke’s Suigetsu. Finish by entering into Seigan no Kamae and Zanshin.

跨飛 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 don’t 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.

高松伝の本


Shinden Fudô Ryû 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)

a

Studied Tang Dynasty Kempô 1156, escaped to Iga c Shinden Fudô Ryû 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 Ryû Happo Bikenjutsu. Minamoto Hachiman Tamenari is credited as being the 2nd Sôke. 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 Sôke, Ibuki Yoshihara, is also listed as the 2nd Sôke of Shinden Fudô Ryû. The 9th, and 10th Sôke's, Kaneko Jinsuke Yoshikiyo, and Tajuma Genkuro Nariyoshi, were Grandmasters of Shinden Fudô Ryû 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 Ryû was created during this turbulent period of Japan's history. •

Kuki Takei from the Kuki family of Kukishin Ryû was also from the Shinden Fudô Ryû. Takenaka Tetsunoke, senior student of Jigoro Kano, the founder of Judo, was at one time a student at the Shinden Fudô Ryû dôjô. • "The Ryû 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 Ryû-ha Daijiten lists the Sôke slightly differently from below, which is the list provided by Hatsumi Sensei, and is missing the 17th and 18th Sôke. 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 Ryû-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 Fudô Ryû dôjô at the same time, so it is extremely possible that they both received the Menkyo Kaiden from Toyota. • The Bugei Ryû-ha Daijiten also lists the 16th Sôke as Abe Muga, who was Sôke in the Tensho era (1573), as being the Sôke 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 Yôshin Ryû 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 Sôke, and then the 15th Sôke, Otsuka Daikuro. From the teachings they imparted on him, Abe is reputed to have founded Shinden Fudô Ryû. Later, he wrote a scroll which he named Fudô Ryû 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 Sôke, was a samurai, and a master in the Bikenshin Ryû. He was also a sword instructor to the Tokugawa Shogunate. He was Takamatsu Sensei's grandfather, and operated a dôjô that had a plaque above the door, which read: "Shinden Fudô Ryû 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 Fudô Ryû, it is written that he may have been the originator of Iai. 3

There exists another theory behind the origin of Shinden Fudô Ryû: The Shinden Fudô Ryû was created by Kammon Kokanja Yoshikane in the Shocho era (1428), who is listed in our lineage was the 11th Sôke. 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), ô tsuchi (war hammer), and naginata. The Five Dôjô Rules (The Law of the Dôjô) 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 Uô

Principles Kotsu (The Essence) Shinden Fudô Ryû is broken into two halves, Jûtaijutsu and Dakentaijutsu. The beginnings of the Jûtaijutsu is solely Jûtaijutsu, but as you move further through the kata, Dakentaijutsu starts to seep in. So when the end of the Jûtaijutsu Okuden is reached, Dakentaijutsu is primary, and Jûtaijutsu is secondary. The Dakentaijutsu is the opposite of the Jûtaijutsu, with more Jûtaijutsu 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 Fudô Ryû 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 Dôjô (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 Fudô Ryû we must understand the nature and behavior of birds. Keep the right hand free. "In Shinden Fudô Ryû 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 Fudô Ryû 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 Fudô Ryû 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 Fudô Ryû Dakentaijutsu video, released by Quest 4 Masaaki Hatsumi, 1998 U.S. Tai Kai 5 Quote from Paul Richardson, regarding 1989 Hatsumi video 2

Shinden Fudô Ryû by Jeffrey Mueller Several people have asked some questions regarding the Shinden Fudô Ryû 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 Ryû Ha. I preface this with a disclaimer: This is what I have come to understand is the idea of the Shinden Fudô Ryû 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 Ryû Ha that is listed on everyone's certificates is "Shinden Fudô Ryû 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 Ryû 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 Ryû 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 Fudô Ryû 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 Fudô Ryû. 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 Ryû Ha is meant to be practiced while wearing the Daisho against someone wearing the Daisho. The movements and ukemi from the Ryû 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 Ryû 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 Fudô Ryû 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 Fudô Ryû, 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 Fudô Ryû 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 Fudô Ryû 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 Fudô Ryû 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 Fûbi. 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 Hichô 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 Hichô 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 Fudô Ryû 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 Jûtaijutsu 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 Jûtaijutsu 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 Fudô Ryû Dakentaijutsu are listed below."

•

Shizen No Kamae

Shizen No Kamae Translation: Natural Posture

Kamae: (H) Both hands are in fudôken, palms are facing hips. (F) Stand shoulder-width apart.

Comments: None

Waza "First, the ten no kata (shoden) training way is "ikken hassô", 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 • Fûbi • Uryô • Unjaku or Hibari • Setsuyaku • Musan • Karai

Nichigeki Origin: Shinden Fudô Ryû 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 Fudô Ryû, 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 Fudô Ryû 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, Ôgyaku 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 Fudô Ryû. 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 Ôgyaku, don't pull down on (U) shoulder." - Quotes from Hatsumi Sensei

Fûbi Origin: Shinden Fudô Ryû 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

Uryô Origin: Shinden Fudô Ryû 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 Fudô Ryû 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 Fudô Ryû 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 Fudô Ryû 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 Fudô Ryû, 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 Fudô Ryû 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 Fudô Ryû 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 • Suiryû

Riken Origin: Shinden Fudô Ryû Dakentaijtsu Chi No Kata

Translation: Reason Fist

Technique: (U) in Seiza, (T) in Fudôza (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 Fudô Ryû Dakentaijtsu Chi No Kata

Translation: Heart Fist

Technique: (U) in Seiza, (T) in Fudôza (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 Fudô Ryû Dakentaijtsu Chi No Kata

Translation: Thunder Fist

Technique: (U) in Shizen, (T) in Fudôza (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 Fudô Ryû Dakentaijtsu Chi No Kata

Translation: Changing Emptiness

Technique: (U) standing, you in Fudôza (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 Fudô Ryû Dakentaijtsu Chi No Kata

Translation: One Flash

Technique: (U) in Shizen, (T) in Fudôza (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 Fudô Ryû Dakentaijtsu Chi No Kata

Translation: Bridge Fist

Technique: (U) in Daijodan No Kamae, (T) in Fudôza (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 Fudô Ryû Dakentaijtsu Chi No Kata

Translation: Heaven Earth

Technique: (U) jodan kiri from behind, (T) in Fudôza • 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

Suiryû Origin: Shinden Fudô Ryû Dakentaijtsu Chi No Kata

Translation: Weeping Willow

Technique: (U) in Seigan, (T) in Fudôza (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 • Ryôte Gake • Kasasagi • Suzu Otoshi • Kasumi Otoshi • Rôtô • Fudô • Ugari • Fukan • Shizen • Fudozen

Tai Nagashi Origin: Shinden Fudô Ryû 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 Fudô Ryû 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 Fudô Ryû 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

Ryôte Gake Origin: Shinden Fudô Ryû 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 Fudô Ryû 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 Fudô Ryû 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 Fudô Ryû 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

Rôtô Origin: Shinden Fudô Ryû 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

Fudô Origin: Shinden Fudô Ryû 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 Fudô Ryû 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 Fudô Ryû 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 Fudô Ryû 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 Fudô Ryû Dakentaijtsu Shizen Shigoku No Kata

Translation: Immovable Meditation

Technique: Mediation from Fudôza No Kamae.

Comments: None

Jûtaijutsu Kamae "There are kamae in Shinden Fudô Ryû 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 Jûtaijutsu 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 Jûtaijutsu 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 Fudô Ryû Jûtaijutsu 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 fudôken, palms are facing hips. (F) Stand shoulder-width apart.

Comments: None

Za No Kamae/Fudôza 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 Ryû Ko Gedan Gake Ude Ori Kyû In Kimon Dori Jinchû Nage Koromo Gaeshi Saka Otoshi Satani Nage Katate Otoshi Gyaku Nage Gokuraku Otoshi

Kata Mune Dori Origin: Shinden Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu 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

Ryû Ko Origin: Shinden Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu 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

Kyû In Origin: Shinden Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu 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

Jinchû Nage Origin: Shinden Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu 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) • Fûsetsu or Fû Un • Tama Otoshi • Ugo • Randori or Midari Dori • Tsuki no Wa • Kochô Dori • Kasa Harai • Kaku Sei • Kasumi Gake • Ryô Yoku • Utushi Dori

Fûsetsu or Fû Un Origin: Shinden Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu 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

Kochô Dori Origin: Shinden Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu Chuden No Kata

Translation: Straw Hat Sweep

Technique: (U) kumi uchi • Kumi uchi, step to rt and start Ôgyaku • 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 Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu 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

Ryô Yoku Origin: Shinden Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu 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 Fû • Gôsha Dori • Te Ate • Kari Shimo • Tatsu Maki • Furoya Nage • Yama Arashi • Bai Setsu

Hyo Fû Origin: Shinden Fudô Ryû Jûtaijutsu Okuden No Kata

Translation: Wind Sign

Technique: (T) hon jime (U) counters by lifting (T) rt arm and attempts koshi nage •

Comments: None

Gôsha Dori Origin: Shinden Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu Okuden No Kata

Translation: Public Bath Throw

Technique: (U) tsuki •

Comments: None

Yama Arashi Origin: Shinden Fudô Ryû Jûtaijutsu 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 Fudô Ryû Jûtaijutsu Okuden No Kata

Translation: Plum Snow

Technique: (U) double lapel grab •

Comments: None

Biken The Shinden Fudô Ryû sword is slightly larger than the Kukishinden Ryû 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 Fudô Ryû, 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 Fudô Ryû: 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 Fudô Ryû'." 5

Kamae • • • • •

Seigan no Kamae Daijôdan no Kamae Engetsu no Kamae Wangetsu no Kamae Ryûsei 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 Fudô Ryû 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

Daijôdan No Kamae Translation: Upper Level Posture

Kamae: In kamae such as Daijôdan, 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

Ryûsei 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 Ryûsei, 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 Ryûsei. 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

1

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

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

3

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.

5

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)

6

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 Uke’s 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.

7

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

8

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

9

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. Tori’s 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). Tori’s 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 Gyoko’s 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 Emperor’s 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 opponent’s finger(s) in such a way to form a kuji while also breaking the opponent’s finger. Techniques in Gyokushin Ryu often involve movements in which the defender forces the opponent’s elbow to point upwards. Other characteristics of Gyokushin Ryu techniques are twisting the opponent’s 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 defender’s right wrist in an outer reversal (Omote Gyaku). The defender pushes his right hand down to the left toward the opponent’s 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 defender’s 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 Fudô 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 Tori’s Ichimonji is loose and relaxed. Tori faces Uke 1, Uke 2 is on Tori’s 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 Tori’s 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 2’s strike and hits Uke 2’s 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 Uke’s grip while applying the locks (or throws). Rather, Uke’s hand is kept against Tori’s chest (in the case of Ura and Omote Gyaku) and the final takedown makes use of the chest pressing down on the back of Uke’s 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 Uke’s 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 Uke’s arm is behind his own back slightly. Omote Gyaku Uke and Tori are in Shizen. Uke grabs Tori’s left lapel with the right hand. Tori uses his left hand to restrain Uke’s 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 Uke’s right wakitsubo (Toris’s 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 Uke’s right hand anti-clockwise palm out (so that the back of Uke’s hand is against Tori’s chest). Tori isolates Uke’s wrist with two fingers and ensures that Uke’s 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 Uke’s right hand with his chest by bending the body forward. This applies the lock and takes Uke’s balance. Omote Gyaku Tsuki Uke and Tori are in Shizen. Uke grabs Tori’s left lapel with the right hand and does a left jodan tsuki. Tori uses his left hand to restrain Uke’s 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 Uke’s 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 Uke’s right hand anti-clockwise palm out (so that the back of Uke’s hand is against Tori’s chest). Tori isolates Uke’s wrist with two fingers and ensures that Uke’s 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 Uke’s right hand with his chest by bending the body forward. This applies the lock and takes Uke’s balance. Ura Gyaku 1.Uke and Tori are in Shizen. 2.Uke grabs Tori’s left lapel with the right hand. Tori uses his left hand to restrain Uke’s 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 Uke’s right wakitsubo (Toris’s 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 Uke’s right hand clockwise palm out (so that the back of Uke’s hand is against Tori’s chest). Tori isolates Uke’s wrist with two fingers and ensures that Uke’s 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 Uke’s right hand with his chest by bending the body forward. This applies the lock and takes Uke’s balance.

Musha Dori 1.Uke and Tori are in Shizen. 2.Uke grabs Tori’s 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” Uke’s right elbow with both hands (Tori’s left hand is on top, right hand underneath), directing the elbow down and back towards Uke’s rear left hip. At this point, Tori ensures that Uke’s 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 Uke’s 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 Uke’s 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 Tori’s 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 Uke’s 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 Uke’s 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 Tori’s right side and grabs Tori’s right lapel with his left hand. Uke then punches to Tori’s face with his right fist. Tori moves his head to the left (Tori’s left) as he deflects Uke’s punch to the right with the lef t hand. Tori then rolls his body to the right, holding onto Uke’s right hand with the left hand and barring Uke’s elbow with the left elbow, using his rolling body to bar and break Uke’s right arm. Both of Uke’s 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 Tori’s head and puts his left hand over Tori’s mouth. Uke then attempts to cut Tori’s 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 Uke’s knife attack. Tori uses his left hand to press Ukes’s left hand firmly onto Tori’s face and Tori continues turning to his right until he is face down. With Uke’s hand pressed against Tori’s face the result us a kind of Taki Ori on Uke’s left wrist. Technique 3 Uke lies on his back (asleep on a futon with his head on a wooden pillow). Tori approaches from Uke’s right

side without looking at Uke. Tori kneels down on his right knee (close to Uke’s right side) and at the same time lifts Uke’s 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 Uke’s right side and simultainiously brings his straightened left leg over Uke’s neck. Tori drops backwards onto his back, slamming his left leg down onto Uke’s throat (or mouth) and at the same time breaking Uke’s right arm across Tori’s 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 Uke’s right side without looking at Uke. Tori kneels down on his right knee (close to Uke’s right side) and at the same time lifts Uke’s 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 Uke’s 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 Uke’s 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 Uke’s buttocks and lifts. Just before Uke’s balance is compromised, Uke uses either his right knee or right foot to push Tori’s 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 Tori’s 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 Uke’s hand and steps underneath as in hira ichimonji, pushing Uke’s 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 opponent’s elbow with the thumbs and then throw. Gyaku Zeoi Nage Do a gyaku zeoi holding either one or both of the opponent’s arms. Temakura Simply do a temakura, however, if the opponent’s body resists, execute a shuto to his ribs and return to doing the temakura.

Waki Jime Catch the opponent’s 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 opponent’s 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 uke’s neck (under the ear ) and pulls with the left arm on uke’s right elbow (to unbalance him). Tori is now standing besides uke and gives a right heel kick into the back of uke’s right knee. Tori then goes down to his left knee and pulls on uke’s right arm and pushes with BOSHIKEN. Uke falls onto his back (keep the right foot after the kick behind uke’s 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 -

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 upper lip. Hachi Yô, the ear. Menbu, the face and the forehead. Shoku Kotsu, the Adam's Apple. Gorin (Tsuki Kage), the right side of the area around the navel, alongside the navel. Gorin (Inazuma), the left side of the area around the navel, alongside the navel. Sai, the inner thigh, specifically the left inner thigh. Usai, the right inner thigh. Yaku, the calf. Matsukaze, the areas left and right of the throat's indention.

-

Murasame, the area immediately below the Adam's Apple. Hoshisawa, the elbow joint. U-in, the area immediately below the right eye. Sa-in, the area immediately below the left eye. Tentô, the top of the head. Shin Chu, the chest. Wakitsubo, the root of the thumb. Butsumetsu, the side of the ribs. Kyôkei, the top of the five toes. Hadome, one inch below the ear lobe.

Ura Kimon Ryu Fu Kasumi Hiryuran Shishiran Kosei Yugasumi Tsuyugasumi Ryumon Jujiro Jakkin Daimon Asagiri Sei Kinketsu Koshitsubo Hichibatsu Tenmon Uko Jinchu Happa Menbu Tokotsu Gorin Sai Matsu Kaze Mura Same Hoshizawa In Ten To Shin Chu Wakitsubo Yubitsubo Butsumetsu Kyokei Rikimon Yanagikaza Rangiku Kosgi Yuugiri Tsuyugiri Hoshi Kimon Kinkoku Koe Amado Yaba Menbu Groin Tsukikage Inazuma Usai

Outside Devil Opening (ribs under the pectoral muscle) Willow Wind (above and below the Adam's apple) Fog or Mist (temple) Flying Dragon Confuser (eyes) Tiger Confuser (stomach) Power of Tiger (groin) Evening Mist (soft spot below the ear) Drop of Mist (under the jaw line) Dragon Gate (under the collar bone near the point of the shoulder) Intersection (front of the shoulder) Weak Muscle (upper arm between the bone and muscle) Big Gate (middle of the shoulder joint) Morning Mist (bottom of the chin) Star (directly under the armpit) Tabu Hole (sternum) Hip Pot (inside ridge of the hip bone) Voice (side of the hip) Heaven's Gate (ridge of the eye socket) Door of Rain (side of the neck) Center of the Human (base of the nose) Eight Leaves (clapping the ears) Face (bridge of the nose) Independent Bone (Adam's apple) Five Rings (around the stomach) Leg (inside and outside of the upper leg) Pinetree Wind (just above and below the ends of the clavicles) Village Rain (notch between the clavicles) Cliff of Stars (elbow joint) Shadow (inside the swell of the cheekbone) Top of the Head (soft spot at the top of the head) Center of the Heart (middle of the chest) Side of the Body (the ribs under the armpits) Finger Pot (base of the thumb and index finger) The Day the Buddha Died (ribs just under the chest muscles, front and back) Strong Tendons (top of the foot just above the toes) Below the chest, below the armpit between the 4th and 5th rib Adam's apple Temple Testicle Dent behind the ear Below the ear, chin Below the armpit Top of the chest : Rib Cage Dent of spine, causes pain and suffering for seven days All the side below the lymphatic gland in the neck Both ears Face, forehead Right side of navel Left side of navel Right side

Yano Sonu Vin Sain Ten To Shin Chu Wakitsubo Kenkotsu Yubitsubo Butsumetsu Rikimon Gorin Kyokei Hadomi Amado

Calf muscle Below indentation of the throat Below the right eye Below the left eye Frontal bone of the head : Front of the chest Armpit : Heaven Bone (four places) Between the thumb and index finger Four places on the rib cage Below the chest Five points around the navel Top of the five toes One inch below the ear lobe Both sides below the chin

Kurai Dori ("Taking proper position"; Kamae) Ichimonji No Kamae The left leg is forward, and slightly bent. The left arm is straight out pointing at Uke, and the hand is open. The right hand is in Shuto, and is held above the left bicep with the palm face towards the face. Migi Seigan No Kamae (Right "Correct eye" posture) The right leg is forward with the toes pointing at your opponent, the left foot points outward and carries 60% of the weight. The right hand is open and pointing at your opponent. The left hand is open and lies on your right bicep, half way between elbow and shoulder. In koto ryu, for migi seigan, your right hand is placed in front of you, pointing at your adversary, and the left hand is placed in such a way that protects you from potential attack. Even though this is migi seigan no kamae, in reality your mind and heart can be assuming kage no kamae ("shadow position"), which could be ichimonji no kamae, hoko no kamae, etc. You are ready for any type of attack. Since this is called kurai dori, foot positioning becomes very important, and is crucial for proper distancing. This will help freedom of movement. Hidari Seigan No Kamae (Left "Correct eye") As above, in ichimonji, but with left hand pointing at opponent's heart and your body leans back slightly. As you can see, this left seigan posture is different from the illustration you saw before. This posture is what your heart is feeling. With this posture, you attack and strike the hidden target. Hira Ichimonji ("Level figure-1" posture) Stand on right leg with the left foot placed on the side of your right knee. Both arms are stretched out to your sides. Imagine a spinning top. Your centre of gravity is balanced in the air. A top in motion flies away tangentially from what hits it and continues to spin. Hoko No Kamae ("Hug -surround" posture) The weight is evenly distributed between both legs. The arms are held above the head with the hands open. When some animals meet their enemy, they threaten the enemy by making their body look bigger than it is. This posture is good for a small person, and the attitude for this posture is "I will defend myself no matter what happens. Attack whenever you want!". Bobbi No Kamae ("Defensive posture") Both feet are close together with the right foot pointing at your opponent and the left foot pointing outwards. Both knees are bent. The right arm is extended towards your opponent with the hand closed and the left fist rests at your left hip. The right hand is in front and the left hand is on the hip. You are ready for any attack any time. Since this is kurai dori "proper positioning". Kamae No Tanren (Kamae training) Ichimonji no Kamae

Hidari Ichimonji no kamae. As Uke kicks with the right foot, step out to the left, and catch the kick with the right hand. Turn to the right facing Uke, and kick with Sokugyaku keri into the back of the inside left thigh, or up into the base of the spine. From here drop the left foot into Ukes left (supporting leg) thigh. Kick and/or push him to the ground. Seigan no Kamae Hidari Seigan no kamae. As Uke moves forwards with a Jodan Tsuki, Yoko Aruki forwards, and form a low / flat Jumonji Dori (left under right). The left hand is at Butsumetsu, and the right under the forearm. Turn to the left so your back comes near his. Push with the hands and strike with a right Ura Shuto. Hira Ichimonji no Kamae From Hira Ichimonji no kamae, as Uke strikes turn to the right, and step back, and down with the raised right foot. The left hand slaps Ukes right elbow, and then slaps Hachi-Yo to the Yo. HENKA Turn to the left, and slam the right foot into Ukes ribs, and slapping Hoshi, then drop the foot onto him. hoko no Kamae As Uke strikes step forwards with the left foot. The left hand drops down onto Ukes hand pushing it down. The right hand goes to Mura Same with either Ryu Ken, or Shako Ken, and pushes into Kyusho NOTE: Both hands move together. Bobbi no Kamae As Uke strikes Yoko Aruki to the right with the left foot. The left hand comes without moving to Ukes face (Natural movement). Yoko Aruki to the left dropping below the arm, and strike with a right Fudo ken into Ukes Butsumetsu / Suigetsu. Shoden No Kata (Initial transmission forms) Yokuto (Scooping and throwing) Uke applies a judo grip. Tori is relaxed but covering Uke's right hand with his left hand. Tori moves his left foot slightly towards the right to help his body to twist as he strikes with a boshi ken to the point below Uke's ear (yugasumi). Tori then applies a right keri to Uke's suzu, steps in with his left foot with his body down low, and thrusts a left happa ken upwards to Uke's asagasumi, standing up as he strikes to give power. Henka Uke grabs as before. Tori steps out to the left, striking with a right happa ken to Uke's left ear. Tori twists his spine and hips right around to the right, picking up his left heel, and strikes nio ken upwards to Uke's asagasumi. Henka Uke holds Tori's right wrist with his left hand and Tori's left mune with his right hand. Tori does a left nio ken to Uke's left hand (the one holding Tori's wrist), followed by a right boshi ken to Uke's uko. Finally, Tori applies a left happa ken or nio ken to Uke's asagasumi The point of Yokuto is striking to Uke's asagasumi and yugasumi. Henka (Bojutsu) Uke holds Tori in Kumi Uchi. Tori is in Shizen Tai with the Bo. Tori steps out across to the right (leg is straight). The top of the Bo is close to the chin, the Bo is in line with the right leg. Tori pushes the tip of the Bo into Asagasumi. Tori does a right kick to Gorin, and steps with the left foot, and pushes with the left hand. The left hand grabs the top of the Bo, and strikes with a Do Uchi. Ogyaku (Big lock) Uke attempts koshi nage. Tori jams the throw with his left knee and by pushing his left hand into Uke's hip, with the thumb pushing down into the point on the top of the hip bone (shichibatsu). Tori pushes Uke down with his thumb, then pivots his hips to the left, lifting his right heel, to apply a right nio ken to Uke's butsumetsu. -Henka Tori practices lowering the hips to jam Uke's throw, and takes Uke down by pushing down on the back of Uke's legs with his knees. -Henka Tori lowers his weight as Uke tries to throw and does a nio ken to Uke's shichibatsu. Tori then pivots his hips to apply a right nio ken (using the knuckles of the little finger and the ring finger) to Uke's right kaku (inside of knee). Finally, Tori finishes with a left nio ken upwards to Uke's asagasumi. If you are in close, you may also use kikaku ken to men or kasumi.

Koyoku (Resistance) Uke attacks with a right jodan tsuki. Tori blocks with a left jodan uke then does a reverse right boshi ken to Uke's right butsumetsu or ura kimon. Tori's left arm then comes under Uke's punching arm in preparation for a genseki. Tori steps forward yoko aruki and on the next step , throws Uke with ganseki over his hip. -Henka Uke attacks jodan tsuki with the right hand. Tori blocks jodan uke (without moving the legs) then directs a boshi ken or sanshitan ken to Uke's ribs. Tori's left arm stays with Uke's arm after the block. Shift weight from the right to the left leg and go in under Uke's right arm to throw with seionage, ganseki nage, or haraigoshi. Shuto. -Henka Uke steps in with right jodan tsuki. Tori shifts back and right with a left jodan uke, then moves forward with a right uppercut punch to the solar plexus. Tori then steps forward and places his right foot behind Uke's right foot and executes osoto gake rear hip throw. -Henka (Jutte) Hold the Jutte in the right hand, and do the Kata. When the Left hand comes up under Ukes right arm, the Jutte is held vertical with the shaft against the back of the muscle. Tori then grabs the top of the shaft with the right hand, pulling it to apply pressure, taking Uke straight down to the ground face down. Shito Uke applies hon jime. If Uke's right hand is above, Tori steps back with his left, pushing down onto Uke's hands with his chin and does a right boshi ken to Uke's kasumi (Strike with a cutting feeling. Aim for kasumi in such a way that if it misses, it will cut across Uke's eyes). Tori Finishes by taking Uke's right (top) hand and applying omote gyaku. If Uke does hon jime with the left hand above, the technique is the same but using the opposite side. Henka Uke grabs Tori's lapels with both hands. Tori applies ryote koppo ken to both sides of Uke's head. Hold in Uzumaki. Hosoku (Taking and dropping) Uke does a left hand grab and punches with his right hand. Tori steps back with his right and blocks left jodan uke, followed by a right boshi ken to Uke's left koe (To find the correct point, place the fingers of one hand on the outside of the point of Uke's hip bone. The thumb should then be correctly positioned on Uke's koe). Tori pushes inwards and down with the boshi ken to lower Uke's body. Tori then steps in with his right, using kikaku ken to Uke's men. Your target should be the crown of Uke's head, the temple, nose, or jaw. Do not use kikaku ken against Uke's forehead as that is too hard. Henka Uke attacks as before. Tori blocks as before followed by a right toe-kick (sokugyaku) to Uke's left koe, to lower Uke's body. After rising up with the kick, Tori uses his body weight going downwards with the kikaku ken. The strike should cover as many targets as possible, nose-lips-chin etc. Henka Uke attacks with a right jodan tsuki. Tori blocks with a left jodan uke. Uke attacks with a left jodan tsuki. Tori blocks with a right jodan uke then moves his weight forward and lowers his right fist to strike with a right boshi ken to Uke's left hip. As Uke bends forward due to the strike, Tori shifts his weight forward slightly to strike kikaku ken to Uke's face. Hoteki (Release and throw) Uke grabs Tori's lapel with the right hand. Tori presses Uke's right hand with the left hand. Uke steps in with a left strike. Tori does omote shuto to the inside of Uke's upper arm, followed directly with koshijutsu to Uke's right elbow using the left hand while Tori grabs Uke's right wrist with the right hand. Tori then steps in to throw with seionage. Henka Uke grabs Tori with his left hand and punches jodan uke with his right. Tori steps back with his right foot and shoves his right palm-heel up into the back of Uke's straightened right elbow, lifting Uke. Tori then steps forward and places his left foot behind Uke's left foot and executes osoto gake rear hip throw. Henka(Bojutsu) Tori is in Shizen Tai. Uke grabs with the left hand, and does a right Tsuki. Tori steps out to the right, and a left Jodan Uke. Tori grabs the Bo with the left hand below the right hand. Tori turns to the left, so that the Bo is in front of him, and against the back of Ukes hand. The right leg is over Ukes left leg, and with the use of the Bo throws Uke. Shato (Break and drop) Uke grabs Tori's lapel with the right hand. Tori presses Uke's hand with the left hand and does a right omote

shuto to Uke's right inside upper arm. Tori then steps in with the left leg to strike boshi ken to Uke's ribs in a downward motion. Keto (Hook and topple) Uke applies a ryote grab to Tori's mune. Tori steps back with his right and applies a downward ryote shikan ken to both of Uke's hands, sinking his (Tori's) body very low. Tori finishes with a right kick to Uke's gorin uchi or suigetsu. Henka Uke applies a right grab to Tori's mune. Tori steps outwards to the left, striking and pushing the outside of Uke's fist with his left fist. Tori then does a right kick to Uke's right uchi kaku, and a second kick to the front of Uke's knee to push Uke down. Henka Uke applies a right grab to Tori's mune. Tori steps out to the right, striking the outside of Uke's fist with his left fist. Tori finishes with a left kick to Uke's right kaku. Saku Geki Uke attempts a ryote grab to Tori's mune. Before Uke reaches Tori, Tori avoids to the left and does a boshi ken to Uke's asagasumi with a sanshin style swinging motion. The distancing on the first movement is important as next, Tori should able to kick with his right foot to the outside of Uke's right thigh (sai). Henka Uke attempts a ryote grab to Tori's mune. Before he reaches Tori, Tori avoids to the left and does a sanshin style boshi ken to Uke's asagasumi, followed by a mawashi style kick to Uke's right uchi kaku. Tori steps down from the kick behind Uke at Uke's blind spot. Tori then takes one more step and draws katana then finishes Uke off. Batsugi Uke does a right grab to Tori's mune. Tori steps out to the left and strikes with a right shako to the right side of Uke's face (The thumb strikes above the corner of Uke's mouth, the index finger to the right eye. The other fingers can be used on the left side of Uke's face.). Tori then drops to his right knee, applying omote gyaku to Uke's right hand and taking Uke directly to the ground (Half apply the lock with the left hand, and slap Uke's twisted hand downwards with your right hand. The idea is to break the hand on the way down. Not only to throw Uke.) Henka Uke does a right grab to Tori's mune. Tori steps out to the left and strikes with a right ura shuto to Uke's uko (this strike should straighten Uke's arm). When Uke's arm is straight, it should be possible to take Uke's thumb with Tori's left hand and use it to get more effect on the omote gyaku. You can also take Uke's little finger with your right hand, to use a combination of oya goroshi and ko goroshi to control Uke, and take him down with o soto. Henka Uke does a right grab to Tori's mune. Tori steps out to the left and strikes with a right ura shuto to Uke's uko. If Uke's grip is still strong, Tori sinks down, puts his right arm under Uke's elbow, and lifts. Tori steps releasing the elbow lock, and applies omote gyaku. Henka Uke does a right grab to Tori's mune. Tori steps out to the left and strikes with a right ura shuto to Uke's uko. Tori then steps in with his right to strike downwards with the right elbow onto Uke's ura kimon. Tori puts his right arm over Uke's right arm, steps back , and applies ura gyaku against his (Tori's) body. Tori then takes Uke directly down using his footwork. Tan Geki Tori stands in hidari seigan. Uke attacks with a left punch then a right punch. Tori steps back and blocks first with a right block. As the second punch comes in, Tori backs off slightly and blocks with the left arm in hoko no kamae. Tori moves in slightly , pushing his hands towards and over Uke's face to distract his attention. Tori finishes with a right kick to gorin or suigetsu (The kick should be "placed" on the inside of Uke's knee and then follow Uke's inside leg up to the groin, if this is the target, with the foot turned sideways, big toe uppermost.) Setsu To Uke does a right grab to Tori's mune Tori steps out to the left and does a right shuto to Uke's jakkin to release Uke's grip. Tori then twists his body to the right and does a left boshi ken to Uke's right butsumetsu. (What gives this technique power is the weight change. Although the technique is done virtually on the spot, you should take small steps. If Uke moves away, or is knocked away by the shuto to jakkin, step in with the left leg to make distance for the boshi ken.) Henka

Uke does a right grab to Tori's mune Tori steps out to the left and does a right shuto to Uke's jakkin. If Uke still keeps hold of mune, Tori twists his body to the right, raising his left arm to strike Uke's jakkin from below with the top of the wrist (This should break Uke's elbow). Tori then steps in with his left leg, striking with a right shikan ken to Uke's butsumetsu. (The shikan ken strike should be done with the fist horizontal in order to go in between Uke's ribs). Uke does a right grab to Tori's mune. Tori steps back with his left leg, twisting Uke's hand slightly in an ura gyaku movement (Tori uses his left hand to do this) and applies a right shuto to Uke's nagare (This twisting movement of the hand is to bring Uke's nagare to the top where it is easier to get at.). If Uke is within reach, Tori strikes Uke's face with his right elbow. Tori then steps out to the right and does a left horizontal shikan ken to Uke's butsumetsu. Henka Uke grabs Tori's lapel with the right hand. Tori presses Uke's hand with the left. Uke steps in with the left and tsuki. Tori strikes Uke's right jakkin with the a right fudo ken, slides the right foot forward to hit Uke's kasumi with a left koppo ken and finishes with a right keri to suzu using the shin. Shihaku Tori stands in hidari seigan. Uke does a right punch followed by a left punch. Tori moves back to the right and blocks the first punch at Uke's wrist. As the second punch comes, Tori moves to the inside and blocks to Uke's jakkin. Tori then does a right kick (only raising the knee to make Uke attempt to block and leave his body open). As Tori steps down from the kick, he punches downwards with a left nio ken to Uke's suigetsu. Henka The technique progresses as before but as Tori raises his knee for the feint, he also raises his right fist in preparation for a punch. Practice checking where the opponent concentrates his attention and attack through his guard. If Uke goes to block the punch, Tori kicks him. Practice not letting the opponent know which is the feint, and not deciding yourself which is the feint. Henka Uke attacks with a right jodan tsuki. Tori blocks with a jodan uke from hidari ichimonji no kamae. Uke then attacks with a left jodan tsuki. Tori steps back with the left leg, left keri as a fake and then left fudo ken to butsumetsu as Tori steps down and forward with the left foot from the fake keri. Henka Uke attacks with a right jodan tsuki. Tori blocks with a left jodan uke. Uke attacks with a left jodan tsuki. Tori blocks with a right jodan uke, then lifts his left leg as if to kick but instead steps forward with a left tsuki. Kyogi Tori is in migi seigan. Uke attacks with a left punch followed by a right punch. Tori moves back to the left with his left leg and blocks Uke's first punch by striking the wrist. As the second punch comes in, Tori steps out to the right and back with the right foot and strikes Uke's right hoshi. Tori then moves forward yoko aruki with his right foot stamping on Uke's right foot (toki), and simultaneously punching nio ken to Uke's right butsumetsu (still controlling Uke's right arm). Henka Uke attacks left punch then right punch. Tori blocks as before. As Uke attempts a third punch with his left hand, Tori steps in with right yoko aruki stamping on Uke's right toki and applies a right nio ken to Uke's asagasumi, blocking or jamming Uke's punch with the elbow (still controlling Uke's right arm). Tori steps forward with his left foot, sweeping Uke's right leg with his right foot, and pushing Uke down with the right fist. Henka Uke attacks left punch then right punch. Tori blocks as before. As Uke attempts a third punch with his left hand, Tori steps in with right foot on Uke's left foot (stepping very shallow so that Uke cannot use his knee to put pressure on Tori's). Tori controls Uke's right shoulder with his left fist so that the only possible attack Uke can do is kikaku ken. As Uke attempts kikaku ken, Tori's right arm goes under Uke's left arm to apply ganseki otoshi (do not let Uke roll). The important points of this technique are the stamping on the toki, and the practicing of the yoko aruki movement. Henka Uke attacks with a right jodan tsuki. Tori moves his left leg back to his right leg as he does a soft left jodan uke. Uke attacks with a left jodan tsuki. Tori does a soft right jodan uke as he moves to the inside of the punch and sweeps Uke's right leg with his right leg. Tori then follows Uke down with a right boshi ken. Kakko / Katsuko Tori is in migi seigan. Uke attacks with a left followed by a right punch. Tori blocks the first punch with his right to Uke's wrist. As the second punch comes in, Tori steps right and back with his right leg blocking to Uke's hoshi with his left arm. Tori then simultaneously kicks with his right foot to the top of Uke's right knee, and strikes with a right sanshitan ken to murasame (middle finger goes into murasame and pushes downwards while the index and ring fingers hook over the collar bone and help to control sideways

movement). This is a very difficult technique to practice safely. The simultaneous kicking and shitan ken should be practiced against an inanimate object. Henka Uke punches left then right. Tori blocks as before. As Uke attempts a third punch (left), without blocking, Tori avoids to the left and does a right kick across to uchi kaku (with a yoko aruki feeling) and a right sanshitan ken to murasame to take Uke down. Henka The main point about "Kakko" is taking Uke down using the sanshitan ken to murasame. The following drills are to practice this point. They should be practiced both sides; Migi Seigan. Uke attacks with a left punch. Tori blocks. As Uke steps in to do a right punch, Tori avoids to the right placing his left hand onto Uke's murasame. Tori then steps over with a left yoko aruki, pushing into Uke's murasame. Tori walks around Uke with yoko aruki until he falls. Hidari Seigan. Uke attacks with a right punch. Tori blocks. As Uke steps in to do a left punch, Tori does a right yoko aruki around to Uke's right, taking Uke's right arm around with him to break Uke's balance, and using a right sanshitan ken to take Uke down. Ura Nami Tori is in migi seigan. Uke punches with his left, then with his right. Tori blocks the first punch with a right jodan uke to Uke's wrist and blocks the second punch with left jodan uke to Uke's hoshi by moving back with the right leg (on the second block, Tori sets up his distance and angling for the following kick). Tori simultaneously does a right kick across to Uke's right shin (yaku) with a yoko aruki feeling and a ryo boshi ken to Uke's uko to take Uke down. Henka Hidari Seigan. Uke does a right punch. Tori blocks. As Uke steps in with a left punch, Tori controls his right arm and does a right yoko aruki to Uke's right side, punching shikan ken to Uke's right uko (The target is not the lymph gland, but the muscle below the ear.). Henka Uke attacks with right jodan tsuki. Tori blocks with left jodan uke. Uke attacks with left jodan tsuki. Tori blocks with right jodan uke without moving the legs, yoko aruki along the front / side of Uke's body and sweeps Uke's rear foot away. At the same time, Tori does a right koppo ken to Uke's face. Ten Chi Tori is in migi seigan. Uke attacks with a left punch then a right punch. Tori blocks the first punch at Uke's wrist and moves back to the right to block the second punch at Uke's hoshi. Tori simultaneously kicks with the big toe side of his right foot to Uke's suzu, and does a shako ken to Uke's face, landing forwards. (When you strike with the shako ken, the thumb strikes jinchu and the other fingers around the eyes.) Henka Tori is in migi seigan, Uke attacks as before. Tori blocks as before. Instead of kicking to suzu, Tori kicks across with his right foot to Uke's right uchi kaku to take him down, and simultaneously strikes shako ken across to the side of Uke's face (This strike should have the feeling of being like a cat or tiger swinging at something.). Kata Maki Tori is in hidari seigan. Uke punches with the right, then the left. Tori blocks the first punch at Uke's wrist and moves back to the left to block the second punch at Uke's hoshi. Tori then steps in lightly with the right foot to apply musha dori to Uke's left (front) arm. Tori simultaneously strikes with a left boshi ken in a swinging "sanshin" movement to Uke's omote kimon and takes Uke down with the lock by dropping straight back onto the right knee. Henka Tori is in hidari seigan. Uke attacks as before. Tori blocks as before. Tori applies musha dori and takes Uke down with a right kick to the back of Uke's left knee (kaku). Henka Uke attacks with right jodan tsuki. Tori blocks with left jodan uke. Uke attacks with left jodan tsuki. Tori moves to the inside so the punch goes between his right arm and the right side of his body. Tori then bars Uke's arm from this position and turns to his right to strike Uke's butsumetsu with a left boshi ken. Tori continues the turn down onto his right knee to drive in the boshi ken. Chuden No Kata

In Chuden No Kata the kamae is not decided. The techniques can be tried from any kamae or no kamae. The way the opponent attacks is also flexible. It can also be tried , merely walking up to the opponent and attacking him. The most important point is the timing. Hida Tori does a right shuto (omote or ura) to Uke's yugasumi, followed by a right kick to suigetsu or butsumetsu. The meaning of "Hida" is "flying / jumping strike", so you should have this feeling when you attack. You should step in low and strike upwards. The strike should knock Uke's head backwards, bringing his body forwards, where he is easier to kick. Hisaku Tori does a right boshi ken to Uke's uko, then grabs with both hands to Uke's shoulders (ryumon). Tori then jumps up, wraps both legs around Uke's waist, and squeezes. Tori lowers his back to the ground, grabs both of Uke's ankles and pulls them to make Uke fall backwards. Tori secures Uke's left leg and applies pressure to Uke's yaku as Tori lays back. Tori finishes with a kick to Uke's suzu. Henka Uke and Tori begin in shizen. Tori strikes Uke's left collar bone with a right shitan ken and grabs both Uke's shoulders. Tori then leaps up to grab Uke's waist with both legs to apply O jime and leans back to pull Uke forward. Tori grabs Uke's ankles which causes Uke to fall backwards. Tori finishes with a stamping heel kick from this prone position. Hicho Tori does a right shako ken to the left side of Uke's face (thumb above the side of Uke's mouth, fingers around Uke's cheek and eye), then does a kick to the tip of Uke's sternum (kage). Hito Tori does a goshitan ken to Uke's omote kimon, then jumps up and does a double (simultaneous) kick to Uke's face or chest. If Tori loses his balance when he lands, he rolls backwards. Kuden or "oral tradition"; This technique can be used in a two against one situation. The kicker supports himself on his partner's shoulder, and his partner helps to give lift to the jumper by holding his belt and lifting. It can also be used by using one's surroundings. Holding onto overhanging branches, door frames etc. to help the jump. Henka Uke and Tori are walking towards each other. Tori walks as if to pass Uke on his right side, but just before Uke and Tori meet, Tori turns to his right as if someone had attracted his attention. As Tori turns back towards Uke, he strikes Uke's chest with a left fist. Tori then jumps up and kicks Uke in the face or chest with a double tobi sokuyaku keri. On landing, Tori does a koho kaiten and finishes with shuriken when Uke starts to get back on his feet. Kappi Tori steps in with a right ura shuto to Uke's uko. Tori then either steps in with his left or does a switch step and applies a left ura shuto to Uke's uko, followed by koho tobi. Henka Uke and Tori are walking towards each other. Tori passes Uke on his right side and strikes Uke's right kidney with a left koppo ken followed by a right ura shuto to Uke's neck as Tori leaps backwards. Tori then finishes with shuriken. Monpi Tori steps in with his right leg, grabs Uke's left waki tsubo and twists to break Uke's balance to Uke's right. This opens up Uke's left koe so Tori then does a right kick to koe. Suito Uke attacks with a right punch then a left punch. Tori blocks the first punch to Uke's wrist, and the second punch to Uke's hoshi. Uke steps in and applies a right headlock. Tori strikes Uke's omote kimon with the back of his right fist. Tori then steps with his right foot behind Uke's right leg as Tori twists his right fist and strikes upwards to Uke's asagasumi and then pushes Uke down to the ground with the right fist to asagasumi. Gohi Tori takes Uke down with a right sanshitan ken to Uke's murasame. (The middle finger goes into murasame, the index finger and ring finger can hook over the collar bone to control sideways movement.) By putting power into the neck muscles, this technique can be countered. In order to prevent it from being

countered, first, strike upwards to Uke's asagasumi, and then continue downwards using the wrist in the same way as a cat swiping with it's paw. Hehi Tori does a sanshitan ken to Uke's murasame as in "Gohi" above. If Uke resists, Tori does a left shako ken to strike to the right side of Uke's face (The thumb strikes to the point above the edge of the mouth, and the fingers aim for the eye.). Tori does a migi tobi in the same direction as the strike. Teki Gaeshi Tori does a right grab to Uke's left waki tsubo or butsumetsu, breaking Uke's balance to his right. Tori then does a right kick to the inside of Uke's left thigh (sai). Koto Tori does a right sanshitan ken to Uke's murasame. As Uke is falling, Tori does a right kick to Uke's suzu. Kakuhi Uke does a ryote grab to Tori's chest. Tori steps out to the left and does a right nio ken to Uke's asagasumi. Tori then grabs the Uke's jacket (at Uke's right shoulder) with his right hand, uses his left hand to apply omote gyaku to Uke's right hand, and does a right kick to Uke's left koe to flip Uke over. Okuden No Kata (Inner transmission forms) Santo Uke attempts uchi mata. As Uke kicks Tori's left leg up, Tori drops his weight down to the right and strikes with nio ken to Uke's uchi kaku or sai (inside). Using a slamming motion with his left forearm, Tori breaks Uke's right grip and jumps or rolls clear of Uke. Henka Uke attempts uchi mata. As Uke kicks Tori's left leg up, Tori drops his weight down to the right and strikes with nio ken to Uke's ganmen. Tori continues to drop his weight down to the ground, striking with nio ken to Uke's left toki. Tori holds Uke's left leg with his right arm and pulls Uke over his body, using the left leg against Uke's right leg to control the throw. Santo Tori stands in hidari seigan. Uke thrusts tsuki with tanto. Tori steps out to his right and does a left block to Uke's knife hand (block with left hand holding knife wrist from the top in a kind of a take ori). Tori then does a right shako ken to Uke's right hoshi (thumb goes into hoshi). Tori's right hand pulls back to his left armpit, and then hits take ori onto Uke's knife hand to make him drop the knife. Tori then steps with his left behind Uke and applies ura gyaku with both hands. Tori kicks to the back of Uke's knee, and as Uke falls, Tori adjusts the angle of Uke's arm so that he falls on it and breaks it with his own weight. Koto Tori is in hira no kamae. Uke steps forward to cut downwards, right to left with tanto. Tori steps in with his left very low and jams Uke's cut with a left nio ken to Uke's hoshi (with your arm straight). Tori then steps forward, simultaneously striking double happa ken to Uke's ears and kicking with right foot to Uke's suzu (The simultaneous happa ken and kick should be very explosive. Coming up from a low position and extending upwards.). Henka As Uke comes in to cut, Tori blocks with his left forearm, steps out to the right and does a downward shuto to Uke's jakkin. Happa ken and kick as before. Henka Uke attacks with a kick or a punch and Tori responds with the appropriate block. tori then stretches out Uke's attacking arm or leg, and then steps in with a body slam to break or weaken the limb and down the attacker. Shisen Uke attempts a front choke. Tori drops down and uses his chin to stop the choke. Tori then does a double happa ken to Uke's ears and then grabs both ears, digging his nails into the backs. Finally, Tori steps forward with kikaku ken to Uke's jinchu. Kompi As Uke walks towards Tori, Tori jams Uke's step by stepping on Uke's left foot with his right. Tori then does a right ura shuto to Uke's uko, and jumps back to the left in migi seigan. Practice both sides. Henka

As Uke approaches, Tori executes a right omote shuto to the left side of Uke's neck from Tori's left side. Tori then leaps back and to the left to escape. Sho Setsu As Uke walks towards Tori, Tori steps in right with his body twisted round to the right (almost facing the opposite direction), and strikes Uke's omote kimon with the back of nio ken. Tori then steps around to the right so that Tori is standing parallel to Uke. Tori then kicks with the toes of his right foot to Uke's throat. So Setsu Tori strikes with the thumbs to both sides of Uke's butsumetsu. Tori then grabs some flesh of Uke's butsumetsu, lifts Uke slightly, and then Tori drops to left knee, throwing Uke to Tori's left. Don't "throw" Uke as he could roll out of it, but pull Uke directly down to the ground. Henka Try grabbing different parts of Uke's body and taking him down as before. For example his ears, the flesh of his arms, or the outside of his thighs. Soto Tori grabs Uke's shoulders and pushes his thumbs in between Uke's shoulder muscles and collar bone to lower his body. Tori then steps between Uke's legs with his left foot. Tori then lowers his body and throws Uke tomoenage with his right foot in Uke's stomach. Tori goes over with Uke, finishing on top of him. Tori applies a choke (any), and rolls off. Henka Uke grabs Tori by both lapels and pushes backwards. Tori reaches over Uke's arms to grab his jacket lapels, neck muscles, or ears and pulls him onto a kikaku ken strike to the face. Tori then drops to his seat, sliding his legs between Uke's legs, while pulling Uke forward and down. Tori can use an upward swinging kick to Uke's groin to send him over onto his face. Tori follows the motion of the roll and ends up astride the chest of the prone Uke. Ko No Ki Tori steps in with his right and applies ryo happa ken to Uke's ears (or clap in front of Uke's face as a distraction). Tori then jumps up and delivers a double front kick to Uke's suigetsu. If you lose your balance on landing, roll backwards. Henka If Uke is very tall, distract him with double shuto to uko and lower him with a grab to his ears. Jump up, kicking him in the face or suigetsu with both knees. If Uke is very short, lift him up with his ears and kick. Henka As Uke punches with his right, Tori steps inside, standing on Uke's right foot with the left. Tori claps in front of Uke's face as a distraction. Tori then does a right kick to Uke's suzu, and as Tori lands, kicks with his left foot to Uke's suzu. This can also be done as one movement. Kicking right - left before landing. Henka Tori executes a double happa ken ear slapping strike or shito ken thumb drive to the side of Uke's neck. Tori then leaps into the air and delivers a double simultaneous front kick to the stomach, chest, or face. Tori can turn his striking hands into grabs to pull Uke into the kicks if necessary. After kicking, Tori drops backwards to the ground with a backward roll to cushion the fall and escape. Kimon Uke walks towards Tori. Tori steps in left and grabs Uke's left chest muscle / armpit with his right hand. As Uke's right arm comes out, Tori secures it with his left and pulls it to twist Uke off balance. Tori steps in with his right foot beside Uke's right foot and drops down to his (Tori's) left knee, using the grips on Uke's arm and armpit to pull Uke 90 degrees over Tori's right knee. (Rather than actually "pulling" Uke down, Tori should break his balance with the hands, and then place the knee in the same direction as Uke's balance so that he "trips" over it.). Uke should not be able to roll, but fall flat on his hip / back. In reality, Tori would control Uke's right arm so that he lands on it on the way down and breaks it. Henka Uke and Tori begin in shizen. Uke grabs both of Tori's lapels with two hands. Tori responds by grabbing both of Uke's latisimus dorsi muscles and pulls Uke towards him. Tori then retains his hold and pushes Uke away with boshi ken to Uke's left and right butsumetsu. Tori then turns to his left and drops onto his left knee to throw Uke to the ground. Using the momentum of Uke's fall, Tori rolls over Uke to drive in his right boshi ken further. Ransetsu Tori steps in right, grabbing and twisting thumbs into Uke's butsumetsu both sides. Tori then slides his left foot through Uke's legs and drops to the ground pulling Uke directly to the ground on his face.

When you pull Uke on top of you, be sure that your elbows are protecting you from Uke's full weight, and also possibly striking him in both koe. Henka If you can't get your foot between Uke's legs, put it to the side, and drop, using the grab to butsumetsu to steer Uke in the direction you want him to go. The point of Ransetsu is freely using yoko nagare and tate nagare to throw Uke. Henka Uke and Tori begin in shizen. Uke grabs Tori's latisimus dorsi muscles. Tori strikes both sides of Uke's neck with a left and right koppo ken simultaneously. Tori then grabs Uke's trapezius muscles and throws him with tomoe nage. Ura Kimon Tori steps in right and strikes with a right shako ken to Uke's omote kimon. Tori then does a right kick to Uke's omote kimon. Henka Uke punches. Tori blocks by striking to Uke's jakkin followed by a kick to Uke's jakkin. The point of Ura Kimon is striking the same place twice. Hekito No Kata (Attack forms) Soku Boku Tori stands in migi seigan. Uke is in dai jodan no kamae with katana. As Uke cuts to jodan, Tori steps in and to the left, checking Uke's right arm with the his (Tori's) left hand (not having the feeling that you are holding him, as he will probably try to escape). Tori then does a right kick to Uke's right hoshi, and a right ganmen dori as Tori lands. Boku Hen Tori stands in hira ichimonji no kamae. Uke stands in chudan no kamae. Uke steps forward with his left foot and cuts left to right (to Do). Tori jumps back and out left to escape the cut (not too far). As Uke raises the sword over his head ready for a jodan cut, Tori jumps back in, slightly to the outside (his left), lightly securing Uke's left elbow with Tori's right palm (thumb on hoshi). Tori finishes with a right kick to Uke's butsumetsu. Damara Tori stands in hoko no kamae. Uke stands in chudan no kamae. Uke shifts his weight forward with a tsuki to Tori's suigetsu. Tori steps slightly forward left and twists to the right so that the sword just misses him. Tori steps forward with a right yoko aruki and strikes with a right nio ken to the back of Uke's right hand. Tori then takes Uke's right hand, steps out left, extending Uke's arm to the side, and walks forward applying omote gyaku. Shuriki Tori stands in migi bobi no kamae. Uke stands in dai jodan no kamae. As Uke steps forward and cuts downwards, Tori steps forward left, outside of Uke's cut (Tori's left hand stays on his hip, right forearm vertical as a guard). Tori then applies a right ura shuto to Uke's right nagare (This shuto should cut downwards from his elbow towards nagare). Tori does a right yoko aruki forwards, and applies a right omote shuto to the point at the top of Uke's nose at eye level. Kibo Tori stands in hidari seigan. Uke stands in dai jodan no kamae. As Uke steps forward and cuts downwards, Tori steps out to the right (Keep your kamae, using your front arm as a guard). Without stepping, Tori twists his hips and punches with nio ken to Uke's left tricep (This should push the top half of Uke's body back, exposing his ribs). Tori finishes with a right kick to Uke's floating ribs. Batsu Yu Tori stands in left bobi no kamae. Uke stands in chudan no kamae. As Uke steps forward and cuts from left to right (to Do), Tori does yoko aruki forwards to the inside of Uke's cut, checking the hilt with his left hand, and punching with a right nio ken to Uke's jinchu. Seki Ryoku Tori stands in left hoko no kamae. Uke stands in dai jodan no kamae. As Uke steps in to cut down to Tori's men, Tori steps in slightly to Uke's outside, drops down to the left knee, and does a right nio ken to Uke's suigetsu.

Kahi / Kappi Tori stands in hira ichimonji no kamae. Uke stands in chudan no kamae. As Uke thrusts to Tori's suigetsu, Tori avoids to the right and slightly to the rear. Uke then steps forward and cuts left to right to Tori's Do. Tori drops to his hands and knee and ducks right under the cut. As Uke raises his sword to cut downwards, Tori jumps up from the ground and strikes with a double front kick to Uke's butsumetsu. HetsuPi Both Uke and Tori begin in shizen no kamae. Uke approaches Tori. Tori responds by pressing down on Uke's matsukaze with a right shako ken and then steps forward with his left leg to strike Uke's face with a left shako ken. Tori finishes with koho tobi.

KUKISHINDEN RYU

KAMAE Hira no Kamae With both hands open and held at the hips, your eyes stare into the opponent's eyes. Hira Ichimonji no Kamae With both hands open and spread out to the right and left, your eyes stare into the opponent's eyes. Seigan no Kamae 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 opponent' s eyes. Katate-Hicho no Kamae With the body turned to the left side, lightly clench your right fist and point it at the opponent's chest and keep your lightly clenched left fist against your left chest. Your eyes stare at the opponent's eyes. Kosei no Kamae 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. Shoden No Kata 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. 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. Kirigasumi - below the ear Ryuge - ankle bone outside calf 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

Nasai -

Sai - Thigh

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 Ryumon - Hollow on top of the shoulder. 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 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. 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. 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. 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. 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. Chuden No Kata 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. 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. 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.

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. The bent arm is the same angle as for Musha Dori or Oni Kudaki. 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 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 Tori's 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. 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. 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 Yama Arashi 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. Buda - middle of the calf Jaku kin - Inside bicep (middle of) 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. 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. 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. Tori's knee should be on Ukes Suzu, and the right elbow on Dokotsu, as you roll over him Oshu - open palm strike. Dokotsu - Suzu - groin 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. Shiho Dori

Uke strikes with a right Jodan Tsuki, Tori does a left Jodan Uke to the wrist. Uke then grabs Tori's 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. 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. Sabaki Gata Ara koma 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. Shada Somi - below the ear Shika Ashi (Kasoku) 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. For the final heel kick keep the hips back. 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. Careful when doing the Harai Goshi, as Uke can land on the knee, and break their back Yume Makura 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. Tori's 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 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. 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. 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. Kuruma Dori 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. Do not let the grabbing hand turn or you could lose control. 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 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. 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 Uke's. 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 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. Okuden No Kata 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. 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. 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. 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. 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. Slam the hips in hard 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 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. 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. 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. 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. 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. For the final throw turn to the left. Be careful This is almost exactly the same as Ura Nami from the Chuden no kata 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. Tori's 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. 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. 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. Hane Otoshi (Hane Taoshi) 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.

Shirabe Moguri Gata 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. Sharin Defense against Moguri Dori. As Tori places his hip to throw. Uke pushes his right thigh up under Tori's thigh. The right hand then comes up to the neck, and the left goes around the back to grab Tori's 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. Ko Fuki Ryu Fuki 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. 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 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. 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 Aruki's 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 Sho To 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. 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 Tori's 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. 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. 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. Tori's 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. Kodachi You must keep a very long distance when doing these techniques. Uke will have a Katana. All the time he is looking for an opening to attack you. When he does attack, you must move fast, as it will all be over in less than a second. Above all, you must be prepared to be cut. With all of the Kodachi techniques you must maintain eye contact with Uke. He will wait for your attention to drop, or for you to look away from him. Keep your guard up at all times. You must not go to him, as this will be fatal, he must come first to you. Kodachi Kata Hicho Ken (Flying birds sword) Uke starts in daijodan and does jodan kiri, which finishes with Uke in seigan no kamae (this is not the attack, but a show of strength). Uke then steps back into hidari hasso no kamae. Tori is a good distance away with the Kodachi, in shizen no kamae. Each time he moves, a little of his back is exposed as a target for Uke. Uke, when shown enough of the back, will attack the back at waist height with do uchi. Tori walks / jumps forward very fast, and strikes Uke in the ribs with the Kodachi. Ishishi Geki (Chinese Lion attacks) Uke is in daijodan, Tori is in naka seigan. Tori moves to the left and turns his body to present the left side of his body as a target, then moves his right foot to the left, back into naka seigan. Tori repeats this twice more. As Tori moves around Uke, Uke will pivot on the spot to maintain a watchful eye on Tori. When Tori's left side is presented a third time, Uke steps in with the right leg to cut do uchi to Tori's left side. Tori lunges forward with his weight over the right leg and thrusts the Kodachi at Uke's heart. Tori keeps his left arm down by his left side for protection and continues his forward movement by stepping yoko aruki. Juji Ken (Cross swords) Uke is in daijodan, Tori is in shizen no kamae with the Kodachi in the left hand. Tori does yoko aruki to the left. This will expose Tori's right side to Uke. Uke will cut with do uchi to the right side of Tori's waist. Tori moves forward with the right foot, and takes hold of the sword hand with his right hand. The Kodachi is then thrust into Uke's shoulder, or slashes the shoulder.

SHINDEN FUDO RYU

KOTSU The Shindenfudo Ryu is broken into two halves, Jutaijutsu, and Dakentaijutsu. The beginnnings of the Jutaijutsu, is solely Jutaijutsu, but as you move further through the Kata, Dakentaijutsu starts to creep in. So when the end of the Jutaijutsu Okuden is reached, Dakentaijutsu is primary, and Jutaijutsu is secondary. The Dakentaijutsu is the oppersite to the Jutaijutsu, with more Jutaijutsu at the end, and less Dakentaijutsu. The Shindenfudo Ryu also has Hojojutsu. Use as little movement as possible. When Uke strikes shift out of the way with as little effort as possible. When striking, do so with as much force as is possible. Mainly from Shizen. Right step forwards, with the right hand following the foot, and slamming directly into Uke. Can also be done while walking, with the natural swing of the arms. Also strike with Shikan ken turned flat, for striking into the throat. The Dakentaijutsu involved a lot of attacks from behind. All of the kata can also be done with either Uke, Tori or both wearing Daisho. Understand that the Ryu Ha is meant to be practiced while wearing the Daisho against someone wearing the Daisho. Understand Nature. "The basics of Shinden Fudô Ryu 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 Dôjô (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 Fudô Ryu we must understand the nature and behavior of birds. Keep the right hand free. "In Shinden Fudô Ryu 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 Fudô Ryu 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. KAMAE Za No Kamae (Fudoza) Sit on the heel of the left foot, and have the sole of the right foot, tucked into the calf of the left leg. Hira Ichimonji No Kamae Both arms are held ot from the sides of the body at shoulder height. Feet are shoulder width apart. Seigan No Kamae The lead hand is out at Uke with the fingers pointing at the heart. The rear hand is clenched near to the ear. Katate Seigan No Kamae Same as Seigan no Kamae with the right hand at the eyes. Shizen No Kamae Feet shoulder width apart, with both hands, palms back against the hips.

JUTAIJUTSU

Shoden No Kata (Initial transmission forms) Kata Mune Dori (Single chest capture) Uke and Tori are both in Za Kamae. Uke comes up on the right foot, and grabs the Mune with the right hand. Tori checks the hand, and grabs it in a two handed Ura Gyaku. Tori then does a right kick to the stomach, and pushes right upstanding leg out to the side with the left foot. Tori drops to his back, doing a Ura Gyaku, and pushes the leg away, so that Uke falls next to him on to his stomach. Tori then goes up onto his right knee sitting next to Uke, and putting his left hand into Ura Gyaku on the floor (the arm is bent at 90 degrees). With his right hand Tori, holds Ukes hand on the floor (in Take Ori), and with the left pulls the elbow towards him. This is called Te Kubi. Gyaku Katamune Dori (Reverse single chest capture) Both Uke, and Tori are in Za Kamae. Uke steps up with his right foot, and grabs Tori's Mune with the right hand. Tori right hand comes over and grabs the hand in Ura Gyaku, and the right foot, kicks out to Uke's stomach. Tori then drops onto his back, and pulls Uke with him onto his back. They lie side by side. Tori comes up onto his right knee, and Pulls the elbow (hand still in Ura Gyaku) with the left hand, and pulls Uke onto his back on Tori's left side. Ude Ori (Arm break) Uke and Tori are both in Za Kamae. Uke comes up on the right foot, and strikes with a right Tsuki. Tori leans to the left, and grabs Uke wrist with the right hand, and then leans back to the right, and raising the right knee, and applies pressure to Ukes elbow by using his knee. Tori rolls to the left and continues the pressure. Ura waza Uke comes up on the right foot and grabs the Mune with the right hand. Tori holds this with two hands. Tori leands back and pulls the arm. Tori then grabs the left shoulder with the left hand, and steps back to the left knee, pulling Uke down onto his front. Matsu Kaze (Pine tree wind) Kuden: The meaning of Matsu Kaze is to remove the Opponents wind by grabbing the throat. Start with Kumi Uchi with the left hand on the Obi. Do a slight shift to the right, and move the right hand inside of the collar. Tori then shifts to the left, and drops the left hand to Butsumetsu. Tilt Uke to you left. Right foot goes behind Ukes right foot, Tori drops to the left knee and throws Uke. Note: Use the thumb in the neck to shift him to your left. His buttocks should be half on, half off when lying across the your knee. This fall can be hard, use your thumb to control his fall. Instead of the thumb, use a grab to the collar bone to shift him if he refuses to move. Ryu Ko (Dragon Tiger) Uke does Hon Jime to Tori. Tori grabs Ukes left elbow with the right hand, and the right shoulder with the left hand. Tori then steps in with the right foot, and does Yoko nagare, taking Uke over the top of him. Gedan Gake (Low hook) Uke is in a left Seigan Kame, and does a Jodan Tsuki. Tori is in Shizen, and steps out to the right, with a left Jodan Uke. Tori moves forwards with a right kick to the groin, and at the same time grabs Ukes right hand in Ura Gyaku with the right hand. Tori turns to his right so that Uke bends over. Tori then does Zenpo Ukemi, with his body on Ukes arm. Tori keeps the Ura Gyaku on, and lies on the arm to break it. Ude Ori (Arm break) Uke holds Tori in Kumi Uchi. Tori controls Ukes left arm with the right hand (palm against the back of the elbow). Tori fakes a left tsuki to Suigetsu, but changes it to a Shikan Ken to Jinchu. Tori applies a Muso Dori to the left arm, and turns to the left so that he is standing next to Ukes left. Tori pushes Uke down onto his stomach, and knees with the right knee on the shoulder. Tori takes Ukes left hand in Ura Gyaku, and pulls it to dislocate the shoulder. Kyu In (Old street) This is the same as No 7 Ude Ori. But when Tori does the Muso dori, he does a left kick to Ukes left knee. The ending is the same. Kimon Dori (Demon gate capture) Uke does a Ryote Mune Dori. Tori hold both of his hands, and drops his body weight. Tori then does a right step onto Ukes left Toki, and letting go of the hands does a Ryote Fudo ken to Ukes chest. Tori immediately

grabs the Gi with both hands, and turns to the left to throw Uke. Note When turning to the left to throw Uke, the movement of the hands is similar to that of turning a steering wheel. Ura waza After the Fudo Ken, if Uke resists, pinch the flesh between the thumb, and a bent fore finger. Keep your knees touching Ukes. You must drop the body weight down when doing the Fudo Kens. Attack Kimon. Ura waza Instead of striking the to Nagare, then grab both Kimon, to break the balance. Step back, and down to one knee, and throw. Jinchu Nage (Centre of man throw) Uke does Ryote Mune dori. Tori grabs with both arms under the armpits, with the thumbs on Kimon. Tori steps with the left foot, forward to the left, and strikes with kikaku to Ukes head. Tori then steps with the right foot, behind Ukes, and does Osoto gake. The hands still hold Kimon. Koromo Kaeshi (Garment over throw) Uke does Ryote Mune Dori. Tori moves to the left to a Ichimonji style Kamae. With the left hand Tori grabs Uke right Hoshi. Toris right arm goes under Ukes left armpit, with the hand pressing Kimon. Uke now takes two steps back (left first). Tori goes with Uke, but applies a Shako ken to the face. Tori steps behind Ukes right foot, and the left hand grabs Ukes right wrist. The right hand grabs the right Jakkin (Tori's right elbow presses on Ukes right under arm) Tori now does Koshi Nage. Saka Otoshi (Incline drop) Uke does Ryote Mune dori. Tori holds Uke in Kumi Uchi. Tori then steps forward to the left with the right foot, so that he is standing next to Ukes right side. Tori applies a right Shuki ken to the Butsumetsu, Tori does a right heel kick to the back of Ukes right knee and moves his right arm under Ukes right arm. Tori holds Ukes left wrist with his right hand. Tori steps behind Uke with the left foot, and goes down on the right knee,and throws Uke. Ukes arm is bent right over the right shoulder. Note Pull onto the arm, and the shoulder with the right hand. During the throw Tori turns to the left a little. Satani Nage (Field valley throw) Uke grabs the collar with the right hand. Uke checks the grab, and steps back with the left foot. Tori grabs Ukes right hand with the right hand in Ura Gyaku, and steps back with the right foot. Tori does a right heel kick to the right knee. Tori pulls on Ukes right elbow, and the left hand. Uke falls to the left. Katate Otoshi (one hand drop) Uke does Ryote Mune Dori. Tori checks the right hand with the left hand, and grabs Ukes left wrist from under (fingers on the inside) with the right hand. Tori steps back with the left foot, and then comes back in with the left foot, and pivots to the right (turning ukes arm). Ukes arms are now crossed on Ukes left shoulder (elbows down) Tori does Morote Gyaku Nage. Gyaku Nage (Reverse throw) Uke either does Ryote mune Dori, or does a Jodan Tsuki. Tori turns clockwise to intercept the attack. Ukes elbow(s) are locked, and barred elbow down, on top of Tori's shoulder. Tori pulls on the elbows, and throws Uke over his shoulder, or bends the arms sharply to break them. Gokuraku Otoshi (Paradise drop) Uke holds tori in Kumi Uchi. Tori steps back to the right with the right palm under Ukes elbow. Tori then steps back in with the right, rolling the elbow over as he steps in, pulling Ukes back a little. Uke tries to regain his balance, Tori places his left hand on Ukes right hand, drops to the left knee, and pushes Uke to Tori's left pulling him over. Chuden No Kata (Middle transmission forms) The main point of the Chudan no kata, is to be able to move freely and control your own body weight. Before doing the Chudan no Kata, Takamatsu Sensei would do a forwards handspring on one finger. Before doing the Chudan no kata, Toda Sensei would jump 1 Ken (1.82m) up in the air. Fu Setsu Tori and Uke hold the left Obi, and the right Mune. Tori steps back to the right, and kicks with a left Keri to

Ukes right Kaku. Tori then steps forward with the right foot in front of Ukes left foot, and then drops down to the right knee, throwing Uke clockwise. Note For the throw, pull on the Mune, and push on the Obi. Tama Otoshi Uke holds Tori in Kumi Uchi (left hand on Mune right hand on the obi). Tori steps forward to the right, and strikes with Fudo ken to Omote Kimon. Tori again steps to the right, and places the right heel, behind Ukes right heel. As Uke attempts to regain his balance, Tori drops to his right knee, and throws Uke. Note Pull on the obi to help Uke over. Ugo Uke, and Tori are in Kumi Uchi. Tori holds Ukes hand on Mune with the palm up (left hand on Obi, right on the Mune). Tori steps out to the left, and does a right kick to Ukes left Yaku. Tori pulls on the obi to break Ukes balance. Tori steps out to the left twisting, and extending the right arm. Tori then steps to Ukes right foot, and drops to the left knee, throwing Uke. Henka Uke and Tori are in Kumi Uchi. Tori steps forward with the left foot 45°, and strikes with a right Shuto to Ukes right Bicep. Tori pulls the Obi, and pushes the shoulder bending the back. Tori steps in with the right foot behind Ukes legs, and throws (place your legs across Ukes thighs) Ran Odori Uke holds Tori in Kumi Uchi. Tori holds the left obi, and the right mune. Tori steps back to the right pulling the Mune. As Uke pulls back (for his balance), Tori steps forward with the right foot, and strikes with a right happa ken to Asagasumi. Tori from here strikes down to the right Nagare, and holds it. Tori drops to his right knee, and grabs with the right to the inside of the back of Ukes right leg. Tori switches from right to left knee, pulling Ukes right arm over the shoulder, and raises the leg. Tsuki No Wa Uke holds Tori in Kumi Uchi, and attempts Seio Nage. Tori resists the throw,, and starts Ganseki Nage with the right arm. Uke resists this, so Tori turns to the left, and grabs Ukes left shoulder with the left hand, and Osoto Gake. Koncho Dori (Butterfly capture) Uke holds Tori in Kumi Uchi, and throws with Seio Nage. As he goes Tori catches Ukes lapel, and starts a Ganseki Nage, and grabs the wrist to twist Uke forward for a throw, and sweep kick to the legs. Kasa Harai Uke holds Tori in Kumi Uchi, and starts a Seio Nage. Tori drops the hips, and starts O-Gyaku (Ukes right side is the easiest). Tori catches the elbow, and locks the shoulder. Have the elbow up witht he palm down. As Uke bends over, Tori kicks the left leg above the inside of the knee, and bends the arm into Ura Oni Kudaki. Note It is vital to use the elbow to knock his arm away. It is best to step forward 45°. Kaku Sei Kuden: The name Kaku Sei means cranes voice. The Uke should not be allowed to let out his voice twice. Uke holds Tori in Kumi Uchi, and attempts a throw. As Uke comes in Tori grabs the obi, and presses the thumb into Shichibatsu. As the throwing motion continues, Toris right arm locks around Ukes neck, and Tori rolls over with Uke, and applies pressure to the neck with the head. Tori is on top of Uke, with the arm still around Ukes neck. Tori holds Ukes right hand with his left hand, and the right shoulder pushes up on Ukes neck to break it. Kasumi Gake (Mist Hook) Uke holds Tori in Kumi Uchi, and attempts Seio Nage. Tori drops his weight, and grabs the back of the Obi. Tori raise the right arm slightly, and strikes with Fudo Ken to Omote Kimon. Continue this down to the floor, and putting his right on Uke, Tori rolls over him. Note If you can not do the Fudo ken, press downwards with Boshi ken Ura waza Uke does a Ryomune Dori. Tori raises his hands and strikes just above the elbow to weaken the grip. Tori then grabs the pectorals with both hands, and pushes him back and down.

Ryo Yoku Kuden: The name Ryo Yoku, means Both wings. You should have the feeling of both of your arms being wings. Uke holds Tori in Kumi Uchi, and attempts Seio Nage, Tori jumps to the front, with both arms straight on Ukes shoulders (left first). Tori then pushes down with both thumbs into the collar bone, and kicks to Gorin. Utsushi Dori Uke holds in Kumi Uchi, and attempts Seio Nage. Tori strikes with a Boshi Ken into Shichibatsu, then jumps to the front, and the left hand grips Ryumon, and the right hand holds the front of the Obi. Tori then slides the right foot forward for Yoko Nagare, and pulls Uke to the left. Tori then kicks to Suigetsu. Gaeshi Gata Kote Geashi Uke holds the wrist in Omote Gyaku, and applies the lock. Tori turns to face his locked wrist, and jump/flips, into a cartwheel with the free hand coming over to touch the ground first. A Katate Kuten will complete the Gaeshi. Seio Gaeshi Uke does a Seio Nage. As he throws, do a slight jump, and propel yourself over Ukes shoulder, to land on your feet. Tomoe Geashi Uke does Tomoe Nage. Tori as he is thrown, puts the hands out in front of himself, past Ukes head, and uses the momentum of the throw, to do a cartwheel. Kuruma Gaeshi As Uke does the Kuruma Nage, put both of the hands out in front of you, and either cartwheel or Handspring clear. Note: Finish in Kamae for all of the Gaeshi Gata. Okuden No Kata (Inner transmission forms) Hyo Fu Tori applies a right Hon Jime to Uke. Uke counters by lifting Tori's right arm, and attempting Koshi Nage. Tori responds by dropping the right arm, and body, and then lifts up to apply Musha Dori to Ukes left arm. Toris left leg slides down the outside of Ukes left leg, in a kind of Yoko Nagare movement, finishing up on his back. Tori pulls Uke across his body, and Uke lands on Toris right side. As Tori sits up he switches hands, taking Ukes left arm from underneath with the left arm similar to Oni Kudaki, twisting his hand into Omote Gyaku, while holding Ukes right lapel in Hon Jime. Tori pushes down on the neck, and applies pressure to the left arm while twisting to the right. Waza 1 Tori applies Hon Jime to Uke. Uke counters by lifting Tori's right arm, and attempting Koshi Nage. Tori shifts to the front, and takes Uke right arm in Musha Dori, or Ude Ori, and lifts Uke to apply a lock. Tori's right hand grabs Ukes shoulder. Tori slides his right leg forward into Yoko Nagare movement as before, pulling Uke across his body. Tori then stands up and secure Uke's neck, or head with the left knee, and applies Ude Ori by flexing the spine backwards. Waza 2 Tori applies a Hon Jime to Uke. Instead of lifting the right arm, Uke raises Toris left arm from his lapel. As Uke raises the arm, Tori grabs the sleeve, and skin of Ukes left elbow. Tori the lifts Uke's right right elbow, as the right leg slides down between Ukes legs in Yoko Nagare, bringing Uke over Tori's body, landing on his head. Tori finishes with a kick to Suigetsu Waza 3 Tori applies a Hon Jime to Uke. Uke raises the left arm, and attempts a Koshi Nage. Tori releases the left grip on the lapel, and grabs the sleeve, and skin of Ukes left elbow as Tori steps to his right to Ukes front. Tori pulls Ukes balance forward. Tori then does Yoko Nagare, but this time the left foot goes out, instead of sliding it down. Tori also stamps on Ukes left foot in a cutting motion. Tori then brings Uke over his body, and a kick to Suigetsu. Waza 4

Tori applies a Hon Jime to Uke. Uke lifts the left elbow to attempt Koshi Nage. Tori steps to the right to Ukes front, and grabs Ukes right arm with the left hand, and keeps the right hand on the lapel. Tori then does a right step to Ukes rear, as the right hand goes over Ukes right elbow. As he steps Tori does not place the foot directly to the floor, but drops straight down to Yoko Nagare, putting pressure on Ukes elbow with entire body weight. Gosha Dori (Warrior capture) Uke applies a Hon Jime to Tori. Tori steps back and uses the chin to stop the choke, and applies a Ryote Shako Ken to Ryumon. Tori then jumps up and wraps his legs around Ukes leg waist and squeezes. Tori then releases his hands and drops back to the ground. Tori grabs Ukes ankles and does a right heel kick up into Suigetsu. Tori pulls on the legs and take Uke down. Tori once again kicks to Suigetsu. Tori then sits up, and grabs the skin at Butsumetsu, drops his weight on the knuckles into Butsumetsu, and applies Kikaku Ken to Men. Ura waza 1 Uke applies a Hon Jime. Tori steps back, and stops the choke with the chin, and applies a Ryote Shako Ken to Ryumon.Tori then jumps up and wraps his legs around Ukes waist and squeezes. Tori keeps hold of the Ryumon, and drops to the ground, pulling Uke forward. Tori does a right kick to Suigetsu, and a Tomoe Nage. Ura waza 2 Uke applies a Hon Jime to Tori. Tori steps back and uses the chin to stop the choke. He then does a Ryote Shako Ken to Ryumon, with both thumbs sticking in to the gaps between windpipe, and neck muscles. Tori then does the jump to the waist, and pushes the thumbs deeper in the neck, knocking Uke backwards. Ura waza 3 Uke applies a Hon Jime to Tori. Tori steps back, and uses the chin to stop the choke. Then he applies a Ryote Shako Ken to Ryumon. Tori then jumps to the waist. But if Uke is too strong, or if his balance is too good to pull him forwards, then Tori pushes off him by lowering one leg then the other. Tori then throws him with Ganseki Nage, Seoi Nage etc. Ura waza 4 Uke applies a Ryotte Shako Ken to Tori. Tori steps back, and uses the chin to stop the choke. Tori then applies a Ryote Shako Ken to Ryumon. Tori the jumps up to the waist. But if Uke is too strong, or his balance is good, Tori pushes off him by lowering one leg then the other. Tori then holds Uke left arm, and drops down to the right knee, and turns back to Uke. Teate Uke does Ryote Mune Dori. Tori checks Ukes right hand, and does a Omote Shuto to Kasumi with the right hand. Tori then grabs Ukes right wrist with the right hand (from under the arms), and steps back with the left foot. Tori then steps back with the left foot, and pulls Ukes right arm up and pivots to the right, putting Ukes arm onto his left shoulder. Tori then does Gyaku Nage. Kari Shimo Uke and Tori are in Kumi Uchi. Tori pulls his right hand back to attempt to free it. Uke pulls their arm back, Tori strikes with a Boshi ken to the neck. Tori then locks Ukes elbow, and throws with Osoto Nage. Ura waza 1 Uke and Tori are in Kumi Uchi. Tori pulls his right hand back to attempt to free it. Uke pulls their arm back, Tori strikes with a Boshi ken to the neck. Tori then locks Ukes elbow, and throws with Temakure. Ura waza Uke and Tori are in Kumi Uchi. Tori pulls his right hand back to attempt to free it. Uke pulls their arm back, Tori strikes with a Boshi ken to the neck. Tori then locks Ukes elbow, Tori then steps behind Uke kneeling taking Uke to the ground as he kneels. Tatsu Maki (Tornado) Furoya nage Uke does a right Tsuki. Tori steps back to the right, and does Jodan Uke, and then grabs the wrist. Tori then steps forwards with the right foot, and grabs Uke right elbow with the right hand from underneath. Tori then pushes on the wrist, and pulls on the elbow, and turns so that he is standing next to Uke (on the right side of Uke, both facing the front). Ukes right elbow is now pointing upwards. Tori then does Koho Ukemi, and pulls Uke down onto his back. Yama Arashi (Mountain storm) Uke is in Daijodan, and does Jodan Kiri. Tori is in Shizen no Kamae. When the cut comes down, Tori steps on with the right foot, and drops to the left knee, and does a right Shikan Ken to Suigetsu.

Bai Setsu Uke does Ryote Mune Dori. Tori steps back with the left foot, and grabs the right hand in Ura Gyaku with the right hand, giving a Shuki Ken during the movement to Uke right elbow. With the left hand, Tori grabs Ukes left wrist, and steps forward with the left foot, and turns to the right, and pulls on the arms so that Uke turn with him until they are both back to back. Ukes has both of his arms barred down on top of Toris shoulders. Tori then bends forwards, and throws Uke over the top onto his back.

DAKENTAIJUTSU Ten No Kata Nichi Geki Uke grabs Tori in Kumi Uchi. Tori places his left hand between himself, and Ukes knuckles. The right hand lies on top of Ukes other arm with the palm facing up (he does not grab the lapel). As Uke turns to attempt Seio Nage, Tori drops his body weight, and lifts the right hand up in the direction of Ukes face. At the same time Tori drops his body weight, by bending the knees, and keeping them close to Ukes knees. Tori then turns anti clockwise, and places his right foot behind Ukes right foot (keeping the knees bent, and pushing on the right hand at the face throws Uke backwards. Gekkan Both are in Shizen. Uke steps forward, and punches Shindenfudo Ryu style. Tori does a slight right step, and lifts the left hand to take hold of Ukes wrists (he does not grab). Tori the shifts back to the left, and takes hold of uke right shoulder (Toris left), and kicks with Sokuyaku to Suigetsu. Without stepping back to the ground Tori drops straight out the right knee, at the same time he lifts the left hand, and pulls the right hand with him. Tori drops Uke on his stomach on the ground to his right side. Tori finishes with O-Gyaku. Fubi Ukes does Ryote Mune Dori. Tori grabs Uke by the shoulders with the hands. He them jumps up, and wraps his legs around Ukes waist. He places one ankle on top of the other, and together he squeezes his knees together, and pushes his feet out. He then his Uke in the face with the base of the right Fudo Ken. Tori then drops to the ground (keep the legs around the waist), pulls both of Ukes legs from under him, and drops Uke onto his back. Tori then does a Kagato Ken to the chest. Note The leg grip around the waist is called Ashi Jime. U Ryu Uke grabs Tori from behind in a bear hug (right hand is on top). Tori drops his body weight, and then takes hold of the fingers on Ukes right hand, with his right hand. Tori then pulls the hand out to the right, and steps back with the left foot placing it behind Ukes right leg. Tori then steps back with the right foot dropping to the knee, and throws Uke U ryu (ura waza) As in Kata, but Tori pulls the fingers apart on his right hand, and places his left elbow on top of Ukes right elbow to keep it barred open. Tori applies pressure while the throws Uke over his left leg. U ryu (ura waza) Tori side steps to the left . The right hand comes up and grabs Ukes hair, and pulls him forwards over the right leg. Un Jaku / Hibari Uke and Tori are both in Shizen. Uke steps forward with the right foot, and strikes with the right hand (Shindenfudo Ryu Style). Tori drops to his left knee to avoid the punch. Toris left hand is at Ukes knee, as a cover, with the left elbow at shoulder height. Tori then stands up fast, and brings a right Fudo Ken up under Asagasumi. This knocks Uke backwards. Tori then pivots anti clockwise, so he is standing next to Ukes left side (both face front), and with his right leg crossed over Ukes left leg. Tori takes hold of the skin, and sleeve of Ukes left arm, and pushes his arm forward, knocking Uke over his leg onto the ground. ura waza Finish with Ganseki Nage or any other throw. Once Uke has done his Tsuki, and you have dropped down to your knee, place the left forearm against his knee, and plull his ankle with your right hand, while pushing your left forearm to knock him down. Then roll over his body.

Setsu Yaku Uke does a right punch (Shindenfudo Ryu Style). Tori then shifts to the right, and takes hold of Ukes right wrist with his left hand (the palm is down and on top of the hand). Tori steps in with the right foot, across to Ukes right foot. At the same time twist Ukes hand out as in a Gyaku Omote Gyaku. Toris right hand comes up under Ukes right arm, and grabs the shoulder, and then barr's the arm. Tori then steps through with the right foot, and turns a little clockwise, turning the arm in to Oni Kudaki, and drop him the floor. Note If Uke will not let you turn clockwise, and do the Oni Kudaki, turn instead anti clockwise, and throw Uke with Gyaku Nage. ura waza After the Omote Gyaku, apply Hiji Gyaku, then Osoto Gake. From the Hiji Gyaku, keep on the lock, and reach to grab between his shoulder blades., the throw with a hip throw. Musan Uke strikes with a right Fudo Ken (Shinden Style). Tori steps back, and across the left so the punch passes by his chest. At the same time as stepping Tori drops his body weight, and takes hold of Ukes wrist with the left hand. The right hand comes up under Ukes arm, with a Shako Ken to the face or a Fudo Ken to the chest. Tori then steps back with the right foot to face Uke, and turns the grabbed hand so is similar to Take Ori. Tori then passes under the arm anti clockwise, keeping it straight. When Tori has passed under it completely, he stands at the side of Uke with the arm still straight (in a straight line with the opposite shoulder). With a right Shuto Tori strikes the upper arm muscles dropping Uke. Note When doing the final Shuto, if the body weight is dropped at the point of contact, the Shuto will deliver more impact, and be a more devastating attack to the muscle. ura waza Tori is in Shizen, Ukes strikes with a left Gedan Tsuki. Tori steps forward with the right foot, and back with the left foot. The left hand is palm up under Ukes left hand to cover the Tsuki. Tori takes hold of Ukes left hand with his left, and rotates it to the left, whie striking with a right Fudo ken to Asagasumi (rise this up from underneath). Toris right hand then grabs the left wrist and brings it out to the right side opening him up. Tori then does a left Shako ken to the chin. Tori then passes under Ukes left arm clockwise, and does a right elbow strike to the ribs as he passes. Tori locks Ukes arm. Tori steps back kneeling on the right knee, and finishes with a left Shuto to the upper arm muscles. ura waza This starts the asame as the above Ura Waza. Uke starts with a right Tsuki. After the turn under the arm, Tori then grabs hold of the shoulder with the right hand, and a right sokuyaku geri to Shichibatsu on the right side to finish. Ka Rai Uke grabs Tori's left lapel with the right hand. Uke then steps back with the left foot, and pulls the left hand back to start the punch. As soon as Uke grabs the lapel, Tori checks the hand with his left hand, and takes hold of it. As Uke steps back to do the punch, Tori steps forward with the right foot, and does a right Fudo Ken to Ukes Suigetsu. Toris right and then grabs Ukes right shoulder. Tori steps back with the right foot dropping to the right knee, pulling Uke by the shoulder to the ground. Finish with O-Gyaku. Chi No Kata Ri Ken Uke is in Seiza with wearing a Daisho. Tori is sat in Za Kamae, also wearing a Daisho. Uke comes up on the right foot, and steps forward, and grabs Ukes left Mune with the right hand. Tori takes hold of the his sword with the left hand and places it against the outside of Ukes forearm. Tori's right hand then takes hold of the Sword handle from above the forearm. Tori then leans to the right, and kicks with the right foot, to Ukes chest / hip. Tori then moves over to the right restraining Uke with the sword handle. Tori drops Uke onto his face, and restrains him with the sword. Note: Tori place the sword against Ukes forearm. It must form a cross with the arm and the handle. Place it just below the elbow for best effect. ura waza This is the same start as above, but at the end when the left knee comes up to the top of of Ukes right arm, instead roll the whole body against his arm and shoulder. this way you can add your right elbow to the attack. ura waza

Tori is in Za Kamae. Uke is in Seiza, and comes up on the right foot, and a right grab. Tori sinks backwards, while kicking up to Ukes chin. Tori's left foot circles to the left, then up and over the arm, striking the temple with the left heel. Tori then sinks back onto the right buttock, and rests on his right shoulder, as he is face down. Shin Ken Uke sits in Seiza and comes up on the right foot, and grabs Toris left Mune with the right hand. Tori is in Za Kamae, and controls the grab with the left hand, and does a right Omote Shuto to Ukes right Jakkin. Tori then comes up on the left knee, and kicks with the right foot (toes to the Butsumetsu). Tori then drops back from the kick, and does a Yoko Kaiten. Rai Ken Uke is in Hidari Seigan no Kamae, and does a right Zenpo Keri. Tori is sitting in Za Kamae, and does a left Gedan Uke (stay seated). Tori then does a right kick to Ukes groin, followed by a Yoko Kaiten. Note Tori does all his movements from Za Kamae, and does not go up onto either foot. Hen Kyo Uke is in Seiza, and comes up on the left foot, and grabs Toris right Mune with the left sleeve. Tori is in Za Kamae, and grabs with the right hand in Omote Gyaku. Tori then comes onto the left knee, and does a right toe kick to Butsumetsu. Tori then drops back to a seated position on the ground. Tori then does Omote Gyaku, and pushes Ukes left foot away towards Ukes right side with his left foot. Tori drops to the right side, while doing this Uke falls onto his back next to Tori. Tori comes up onto his right knee, and does a left kick to Ukes side. Ukes hand is still in Omote Gyaku. Issen Uke is in a left Seigan no kamae, and does a Zenpo Keri, followed by a right Tsuki. Tori is in Za Kamae, and does Gedan Uke for the kick, and grabs the wrist of the Tsuki with his right hand (Thumb on the inside, fingers on the outside of the wrist). Tori places his right foot on Ukes right foot, and drops back pushing on the foot, and pulling on the wrist. Uke falls on to his stomach next to Tori. Tori then sits up on his right knee, and places his left knee on Ukes right arm. Ha Ken / Aru Ken Uke has a Katana in Daijodan, and does Jodan Kiri. Tori is in Za Kamae. When the cut comes, Tori does Koho Kaiten, with the right foot coming up, and kicking Ukes sword hand, knocking the sword out of the way. Kan Jin / Ken Kon Uke stands behind Tori in Daijodan. Tori is sat in Za Kamae. Uke gives out a Kiai, and cuts with Jodan Kiri. Tori leans to the left to avoid the cut (place the left hand on the ground for support). As the sword passes to Toris right, Tori takes hold of the sword hand from on top. The right leg moves to the right, and the left hand joins the right hand. Tori then rises to his feet, and turns clockwise, lifting the blade out of the way. Tori now holds Uke in a form of Ura Gyaku. Tori locks him and drops him straight to the ground. Tori takes the sword away from Uke, and cuts him across the back. Sui Ryu Uke has a Katana in Migi Chudan no Kamae, and does a Chudan Tsuki. Tori is in Za Kamae, and comes up onto the right foot to avoid the cut. Tori grabs Ukes right hand with his left hand, and grabs the elbow with the right hand from underneath the arms. Tori pulls on the elbow, and holds Ukes right hand in place with the left in an arm lock (similar to Musha Dori). Tori then does a right kick to the groin, and places the right foot behind Ukes right foot, and pulls the elbow down so that Uke will fall on to his back, and break his elbow during the fall. Note: Tori is sitting on his left knee during this technique, and does not come up all of the way. Shizen Shikoku No Kata Tai Nagashi Uke grabs with the right hand Tori's Mune. Tori's left hand takes gold of Ukes hand from underneath, with the thumb, and index finger facing away from the body. Uke does a Jodan Tsuki, Tori responds with Jodan Uke. Toris right hand then travels past the eyes, to grab the flesh on the outside of Ukes right Bicep.. At the same time the right hand moves, the right foot steps across. Tori then steps back with the right foot, rolling Ukes arm over by pulling the flesh. Tori drops to the right knee. Note

Keep the arm straight, and hold the hand in a form of Ura Gyaku You need to take his balance. Every time you change direction, you must alter and change his balance, so that you can keep control. ura waza Uke does a right grab to Mune, and a left Punch. Tori take hold of the hand from underneath, and does a Jodan Uke, knocking the arm away. The right hand then grabs the flesh at the ribs. Tori's left foot steps on Ukes right foot (rock forwards). Tori then drops back onto the right knee, pulling Uke with him. Henka Drop back onto your buttocks and throw Uke over head. Use Kosshijutsu to move him. Before the flesh grab do a Daken style strike with the palm to the ribs, then turn the hand into Shako Ken, and grab. Ken Nagashi Uke does a left grab, and a right punch. Tori takes hold from underneath, and does a Jodan Uke. Tori then shifts to the left, and starts a Ganseki Nage. Uke drops his weight to counter. Tori then does a switch step, and does either Muso Dori, or Hon Gyaku. Tori then does a right step back, and goes down on the right knee to drop Uke. Place the right foot on the shoulder blade, and barr the arm on the shin to restrain. ura waza Same start of Ken Nagashi. At the Ganseki when he counters, step out then back in and do the Ganseki Nage. Keep then Ganseki on but only do a half step out then back in. Before moving in wait for him to relax, then lift your elbow, and do the Ganseki. Fu Batsu Uke grabs Toris Mune with the left hand. Tori checks the hand, and grabs Ukes left shoulder with his left hand.. Tori then kicks with the right foot, to Ukes stomach. Tori then drops the right foot back, and starts to turn clockwise. When Tori steps back he drops to the right knee, pulling with his right hand na pushing the shoulder with his left hand. Uke falls to the ground. Start the turning, pushing, and pulling from the kick. Ryote Gake Uke does Ryote Mune Dori. Tori grabs Ukes elbows from underneath. Tori then pushes up with the right, and pulls down with the left. Tori then pushes with the left, and pulls with the right, Tori then Pushes with the right, and pulls with the left. Tori steps in, and across with the right foot. Tori throws with koshi Nage. Tori does the push pulling three times, and twists his body from the knees, leaving the feet firmly on the ground. After the turn Tori has his back against Ukes stomach, Kasasagi Uke does Hon Jime. Tori grabs both elbows from underneath. He then places the sole of his right foot against Ukes left hip, and drops back with Tomoe Nage. Suzu Otoshi Uke grabs Tori with the left hand, at Toris right Bicep. Tori grabs Ukes arm at the elbow. Tori then steps back with the right foot, and pulls Uke with him. Tori grabs his own shoulder (Sleeve), above Ukes hand. Ukes arm is trapped between Toris hand and arm. Tori pivots to the left, and goes down to the left knee. Uke falls on his stomach. When Tori grabs Uke at the beginning of the technique, turn the hand similar to Musha Dori. During the turn at the end of the technique, Ukes hand is held similar to Ura Gyaku Kasumi Otoshi Uke grabs with his left hand, and does a right punch. Tori checks the grabbing hand, and steps back with the right foot, and a left Jodan Uke. Tori does a Omote Gyaku to Ukes grabbing hand. Uke falls onto their back. Tori then does a right kick to Ukes side. When doing the Omote Gyaku, hold it close to the body. Ro To Uke does a left grab, and a right Tsuki. Tori take hold of the hand with the right hand, steps to the right, and a left Jodan Uke. After the block Tori does Ura Gyaku, just enough to make Uke bend over. Tori then pivot to the left (still with the Ura Gyaku), and drops to the left knee. Uke falls on their stomach. Tori finishes with a right kick to Ukes left side.

Fu Do Uke grabs with the left hand, and punches with the right hand. Tori steps to the right, and does a Left Jodan Uke. Tori grabs Ukes hand with the right hand, and applies Take Ori. Tori then grabs the left shoulder with the left hand, at the same time moving across to the left. Tori maintains the Take Ori, while pulling Uke forward by the shoulder to throw Uke to the ground. Tori steps back with his right foot, and throws him. U Gari Uke attempts Osoto Gake. Tori lets Uke throw him, but does a Yoko Nagare to a seated position. Tori then pulls Uke over his head or Shoulder, and continues the rolling motion to end up sitting astride the prone Uke. Finish with a Hon Jime. Note With the Yoko Nagare, Tori keeps hold of Uke. The whole technique is done with a continuous flow. Fu Kan Uke attempts a Seionage. Tori punches Uke in the face with a right Fudo Ken, and grabs the back of Ukes belt with the left hand. Tori the leans forward, and rolls, taking Uke with him. When they land Tori continues his roll to finish on top of Uke. Shizen Uke does Ryote Mune Dori, and starts to shove Uke. Tori lowers his hips, and strikes with a Fudo Ken to the stomach. If Uke then pulls Tori does a Kick to the groin in a Sanshin Motion.

TAI TAKAGI YOSHIN RYU JUTAIJUTSU KOTSU Their are no set kamae in Takagi Yoshin Ryu. Due to the connections with the Kukishinden Ryu, Hira, and Seigan etc can be used. When in Seiza the toes are up, and the back is straight. The hands rest on the tops of the thighs. When striking in Takagi Yoshin Ryu, a Kiai is given out. When the collar is grabbed, grab your own jacket below Ukes hand, and press the thumb into the pressure point of the little or ring finger. To release a collar grab, grab Ukes wrist, and pull his hand, and your jacket apart with a violent pull. Turn the body to face the hands, at the same time. The take downs in practice are done gently. For real they are done so that Uke, can not roll, breakfall, or escape. They are designed so that He breaks his back, neck, or a limb. The restrains are for holding down a violent attacker. When a strike has been applied, a further strike is sometimes applied to "make sure". This is either done straight away, or at a later time during the technique. When striking from Seiza (e.g), the right knee comes up, and the left comes across the back, at 90 degrees to the right foot. The toes are up. Kuden - Essence One of the characteristics of the Takagi Yoshin Ryu is to control at least two points of the attackers body at once. The Takagi Yoshin Ryu is a complete system and incorporates the following systems. JUTAIJUTSU (Empty hand) KENJUTSU (Katana and Kodachi) TANTO JUTSU (Knife and dirks) BOJUTSU (Rokushaku Bo - Long staff) HANBOJUTSU (Short staff) TORITSUKE (Ropebinding) The Jujutsu is broken down into the following groups GYAKU Joint locks, and dislocation ATE Body strikes NAGE Throws

SHIME KATSU -

Chokes & Strangulation Resusitation

The Ate is used to distract, weaken and unbalance (Kuzushi) Characteristics of the Takagi Yoshin Ryu: EYES: First the eyes, always look at your opponents eyes SPEED: Move like the wind COURAGE (Spirit): Pluck up as must courage as your body will muster. STRENGTH: Always use your strength effectively, and efficiently. The inside of your body must remain calm, and the inside must have courage when you are involve in a fight. The principle of flexibility is applied to the technique and in strategy and tactics. The Ryu feels that conflict should be avoided, with actual physical violence being the last and least favourable response to a situation. When a situation is faced, never take the opponent face on. The attackers force is redirected, in such a way that it doesn't strike the defender. This is then used against the attacker. The defender at all times observes 'Zanshin' (heightened awareness). Zanshin is to be used at the beginning, middle, and end of each technique. Always have a strong Kamae (posture). This is not a Kamae, as in a fighting posture, but a feeling of being in a correct posture during a conflict. The absolute control of Ma-ai (distancing) is only possible when you have mastered Tai Sabaki. This is the most important basic of Jujutsu. In the Jutaijutsu kata the most important factor is to learn Kuzushi (loss of balance). When his balance is lost, this is the time that he is easiest to control. If he pushes - pull him, if he pulls - push him, This is the Willow bending in the wind. Otherwise strike with hands or feet to distract him, pressure points can also be used. Almost all movement to engage Kuzushi are circular. Joint dislocation (Gyaku) and throws (Nage) are achieved by lever principles (Teko), and the fulcrum of the lever (Shiten) It is also essential to be calm, but full of courage within, and during a fight. Randori Geiko (Free movement training) After you master technique and Kata, try to develop a proper positioning (Kurai Dori). Try to position your self at his dead angle (Spot where he can not see you). Instead of using your power make the attackers power crash against each other. This will take away their fighting power. Technique will take the same form as kata. It changes it's form infinitely. Kihon Kamae Kata (Basic posture forms) Hira No Kamae (Flat posture) 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 Hira Ichimonji No Kamae (Flat number one posture) The body is the same as Hira no Kamae. The arms are out stretched to the side of the body. The hands are in Shikan Ken so that the fingers will not get cut off. Also it is almost impossible to make a good Fudo ken when wearing Armour. Seigan No Kamae (Correct eye posture) The body is side on to Uke. The left hand points at Ukes eyes, the right hand in Shikan Ken, rests on the heart. Katate Hicho No kamae (Single crane posture) Same as Seigan no Kamae, except the right hand is open. The left foot, can come back near to the right foot. Kosei No Kamae The left hand is Shikan Ken above the eyes. The right hand is by the heart in Shikan Ken. -These are the same Kamae as used in Kukishinden Ryu Dakentaijutsu

WAZA Shoden Omote No Kata (Initial transmission outside forms) Kasumi Dori (Haze capture) 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 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. Henka Same attack. Secure then Ura Shuto. Rock your body back a little to break his balance, and kick up with the right foot to Asagasumi. Land with the knee inside next to his knee, and take him down backwards with pressure to the knee. Shift the feet when he is halfway down to change his fall, so that he lands on his front. Henka (Jutte) Tori hits the Kasumi with the Jutte which is in the right hand. Tori then brings the Jutte back to Ukes right hand on the wrist joint, and with the Yoko Ha, applies pressure to it before completing the end of the Kata. Note While in Seiza the Jutte can be hidden behind the knees, with the handle to the right. It can then be grabbed when Tori raise off the right knee. Do Gaeshi (Torso overturn) 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 bars 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 Henka Do from standing Henka Strike to the face with the left hand then with the elbow 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 aright 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. Henka When you stand, turn him over, then walk backwards dragging him down. Henka When you stand kick away the supporting leg Kyoto (Ko-to - Tigers sword) Trnt p.125 Tori walks towards Uke who does a right Gedan Tsuki. Uke is in Seiza. Tori 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 or grabs the skin on the upper arm. Tori keeps the momentum going and pulls on the wrist, bringing Uke to the ground. Lock with OGyaku, or brace his right hand on your right thigh, and kneel on his elbow with the left knee. Note This can also be done if Uke draws a Shoto with a Do/Jodan Kiri Henka Same attack. As you try to take him down he resists. Tori then kicks with the right foot to Kaku (Inside), and then pulls him down. Henka Same attack. This time as he resists, kick with the left foot to Kaku (outside), causing him to fall on his back. Finish with Do-Gaeshi. Katamune Dori (single chest capture) 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. Note On the way down you can kick Uke in the shoulder or the face with the knee. The Hon Gyaku is really needed. 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. Henka Uke does Ryomune Dori. Tori strikes with both Shikan ken to the backs of the hands. Turning the body Tori strikes up under the chin with the right hand. Tori steps back and releases the Ukes right hand, and kicks to the floating ribs, with the right foot. Tori drops to the right knee, this brings down Uke. Ryomune Dori (Double chest capture) 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. Henka Uke does Ryomune Dori. Tori checks both hands, steps back with the right foot, and does Ryote Shikan Ken, to the back of the hands. Tori steps forward with the right foot, and strikes with a Koppo Ken to Ukes left Kasumi, and at the same time a Omote Gyaku with the left hand, causing Uke to fall on his back. Oikage Dori (Pursing capture) 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. Henka Same start as Kata. As Tori comes close to Uke, he grabs the collar with the right hand, and kicks into the back of Ukes right leg taking him down. Tori then kneels on Ukes chest with his right knee. Zanshin. Henka (Jutte) Same start. Tori strikes Uke with the Jutte which is in the right hand. The left hand grabs Ukes right hand, and lifts it, then pulls it down taking Uke to the ground. At the same time Tori drops to his right knee. Tori strikes to Buda with the Jutte Kaigo Kudaki (Rear guard crush) Uke grabs Tori from behind in a bear hug. Tori shoves his hips back into Ukes groin, and a Ryote Shukki 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. Henka As Uke grabs Tori, as in Kata, Tori puts his arm straight up, and slides down out of the hold. As Tori slides to the ground, he moves through Ukes legs, with just his head, and shoulders, he then kicks Uke in the chest or face while laying on the ground. Henka Uke does a bear hug. Tori bends the body backwards, then slams the hips back into Uke, then brings the arms down to his sides. Tori moves his body to the side, and does a Ganseki Nage, or Otoshi. 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. Iki Chigae (Yuki Chigai) (Walking past) Uke and Tori walk towards each other on their right sides, As they 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 Shukki 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. Henka When you bring the hand back to drop Uke, turn as you walk to the right, so that you are stood behind Uke,

and place his hand up behind his back. Kick his right leg away with the right foot, and pull his right hand towards you as he falls, breaking it. Henka This is the same as the last Henka. But place the left hand on Ukes left shoulder, and when you kick his leg away you can control his fall, and place his hand as if in Take Ori on the ground (back of the hand against the ground). Place pressure on the palm of the hand with the right foot, and push down on both shoulders with the hands. Yui Gyaku Uke does a right Ura Shuto to Toris Kasumi. Tori steps back to the right, and does 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. Henka Uke, and Tori walk towards each other. As they come close, Uke punches to Toris face, Tori steps back to the right, and Jodan Uke.. Tori then steps in with the right foot, and strikes with Shikan Ken to Ukes Asagasumi, and a right kick to Ukes right knee, knock Uke to the ground on his back. Tori steps back to Kamae, and Zanshin. Midare Gaechi (Ran Sho) (Disturbance quest) 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. Henka Uke does a right Jodan Tsuki. Tori steps back to the right with a left Jodan Uke.. Tori then strikes Ukes Asagasumi, with a right Fudo Ken. Tori then steps on Ukes right foot with the left foot, and with the right foot, kicks the right inside Kaku with the right foot. Continue with this (Yoko Aruki), to move away. Henka Uke does a right Tsuki, Tori does a left Jodan Uke, and catches the wrist. Tori steps in with the right foot, and strikes in a Sanshin motion with shikan Ken to Ukes Asagasumi.. From the inside Toris right foot, hooks Ukes right foot, and pulls the foot away, causing Uke to fall on his back. Ken Nagashi (Fist flow) 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. Henka Uke is close to Tori and strikes to Chudan. Tori twists and slide to the right on the outside of the punch. Tori takes this hand with the right hand, and the elbow with the left hand, and twists in a Ura Gyaku fashion. Tori walks Uke to the floor with Jigoku Dori. When Uke is on the floor, Tori drops his weight breaking the elbow. Tori then kicks the Butsumetsu with Sokugyaku. Henka Uke strikes with Fudo ken to Chudan. Tori steps in with the right foot, and a small Taisabaki motion to the inside. Tori takes the hand in Ura Gyaku with the right hand. Tori applies Ura Gyaku then Ura Gyaku Henka, and sits down on his right knee. Uke falls backwards. Tori then does a right keri to Butsumetsu. Hiza Guruma (Knee vehicle) 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. Henka Uke is in Seiza. Tori walks towards him and does a right Zenpo keri. Uke steps out to the left and does a right Gedan Uke. Tori grabs the blocking hand, in Ura Gyaku, and with a large clockwise motion does Ura Gyaku. Uke falls on his stomach. Tori places his right knee in Ukes Tricep. Hand is still in Ura Gyaku Henka Uke is in Seiza. Tori walks up to Uke, and kicks to Suigetsu. Uke steps out to the left and does a right Gedan Uke. Tori sinks down on the left knee, and takes Ukes right hand in his right hand. Tori lifts Ukes hand over Ukes head in Omote Gyaku. Tori walks forward on his knees, and takes Uke down onto his back 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 Uke's 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 Ura No Kata (Initial transmission inside forms) Ate Komi (Hit down) 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. Gyaku Dori (Suno Ichi) (Reverse capture No1) 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. Menbu (Suno Ichi) (Face front No 1) 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. Gyaku Dori (Suno Ni) (Reverse capture No2) 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. Ryo Ashi Dori (Suno Ichi) (Double leg capture No1) 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. Menbu (Suno Ni) (Face front No2) 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. Ke Komi (Suno Ichi) (Hand down No1) 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. Kata Mune Dori (Single collar capture) 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. Ryo Mune Dori (Double collar capture) Uke does Ryomune 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. Note The Fudo ken to the hands can be a Shikan ken to Jakkin Henka In the end do a right kick, and go down on the right knee.

Ryo Ashi Dori (Suno Ni) (Double leg capture No2) 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 Tengu Dori (Demon capture) 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. Kaigo Kudaki (Rear guard crush) 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. Chiki 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. Tsuki Taoshi (Strike ?) 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. Ude Ori (Suno Ichi) (Arm break No1) 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 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. Nagashi (Flow) 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. Ke Komi (Suno Ni) (Hand down No2) 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. Ude Ori (Suno Ni) (Arm break No2) 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. Eri Jime (Collar choke) 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. Chuden No Sabaki Kata (Middle transmission lateral forms) Katamune Dori (Single collar capture) 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. Henka Uke and Tori stand in Kumi Uchi. Tori checks Ukes right hand with his left hand, and steps out to the left side, and strikes with a right Shikan ken to Ukes face. At the same time Tori grabs Ukes right hand in Omote Gyaku, and goes back and down onto the left knee, taking Uke with him. Ryomune Dori (Double collar capture) 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. Note: Arch the back when you cover his hands. You can throw with a Ryote Omote/Ura Gyaku Henka Uke does Ryomune Dori. Tori checks both hands, and does a right shin kick to suzu. Tori then steps in with the left foot. Tori turns so that his back is to Uke with Both hands over his shoulder, and throws. Henka Uke grabs both Mune. Tori does a right shin kick to suzu. If Uke has a strong grip Tori steps in with the right foot. The right palm is placed under Ukes chin, and the left hand grabs the hair at the back of the head. Tori then twists the head around to break it. Oni Kudaki (Demon break) 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. Henka This Henka is the same as Kata, but instead of placing your foot behind Ukes leg to take him down, stamp on the top of the calf, and keep it in place while taking Uke down. Henka This is the same as the first Henka, but instead of Omote Oni Kudaki, use Ura Oni Kudaki, and stamp on Ukes leg to take him down. Seoigama (Back Sycle?) Kuden: In Japanese the word Seoi, comes from Seo, meaning to carry something on ones back. Therefore this throw should be down with you using your hips with your back to Uke'. 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 (Hijigyaku), 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 - bend the elbow). Then Tori uses Kosshi Nage to throw Uke forwards. Henka Uke grabs the left Mune, and does a right Tsuki. Tori moves back to the right, and does a left Jodan Uke. The right hand then moves to Ukes left arm, and grabs Hoshi from underneath (keep the grab on the chest with the left hand). Tori steps between Ukes legs with the right foot to lock the elbow. Uke resists. Tori responds by lowering the weight, and pushing the thumb into Nagare to bend the elbow Tori then shifts forward pushing Ukes elbow in front of him. Tori sweeps the left leg with the right foot, making Uke fall down on the elbow. Henka Same start as above. When Tori steps between the legs to lock Ukes elbow, Uke is more powerful. Tori keeps the hand on his chest Tori steps with the right foot, on top of Uke right Toki, and strikes with the right shoulder with a Slam with the entire body weight against the left arm throwing him or breaking it. Koshinage Gama (Hip throw ?) Kuden: 'Koshi Nage differs from Seoi, in that you do not have to have your back completely facing Uke'. 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. Note: Throw with the Oni Kudaki still on. Henka Uke does a right strike, and Tori steps back to block. Tori then steps in with the left foot, and attempts Oni Kudaki. Uke then strikes with his left hand. Tori steps forward with his left foot to avoid the strike. Tori then turns to the right placing Ukes arm on top of his shoulder. From here if Tori rises he can break the arm. Tori throws with Gyaku Nage.

Henka Uke does a right strike. Tori steps back to the right, and does a Jodan Uke. Tori then steps forward with the left foot, and applies a Oni Kudaki. Uke is strong, so Tori shifts his body back to the left (For balance breaking), then back in again pushing Ukes weight backwards. Tori pushes Ukes restrained arm down towards the ground (Use Hiji Gyaku), and Ashi Barai with the right foot. Ude Ori (Arm break) Uke does a right grab. Tori steps forward to the left , and an Ura Shuto to the eyes. At the same time, Tori grabs Ukes right hand in Ura Gyaku, and applies it. Tori steps back with the right foot, to make Uke bend over. Tori steps back and down onto the right knee (use Gozen Dori to make Uke fall onto his back). Tori does the finish to Do Gaeshi to make Uke move onto his stomach. With the hand still in Ura Gyaku place the left knee on the elbow Henka 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. Henka Uke grabs the left Mune. Tori steps and does a right Ura Shuto to Kasumi. Tori then takes Ukes hand in Omote Gyaku and attempts to take him down. Uke resists. Tori then steps to Ukes left side with the right foot, then the left foot behind his (as the weight goes from the right to left, hit Ukes hip with yours). Take Uke backwards with the Omote Gyaku part way. Then break the elbow. Gyaku Te Nage (Reverse hand throw) 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. For the Butsumetsu grab, sink low, below his shoulder. Henka Do not grab Butsumetsu, but the elbow. Bend it back and forth a few times. Then do Ash Barrie and Agouti/Otoshi Kimono Nage (Demon gate throw) 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 Bootie Ken. Tori then straight away grabs the jacket, and pulls Uke to him so that he can strike with Kick 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 or Agouti/Otoshi. Ate Nage (Ate Kimono) (Place the throw) Uke grabs Toris lapel with the left hand. Tori take hold of the hand with his right hand in Gyaku Et Take Or, and strikes with a left Fudo Ken to Butsumetsu, striking under the arm. Tori turns to the right going under Ukes left arm (strike Butsumetsu with the elbow), and grabs Ukes left shoulder or Butsumetsu with the left hand with Ukes left hand up behind his back. Tori then kicks Ukes supporting leg out, and drops him. Note: When you take the Take Or from underneath, drop the weight by bending the knees. Henka Uke does a left grab. Tori does Ura Take Or with the right hand, and steps underneath Ukes arm, and Shukki ken to Ukes left Butsumetsu. Tori is now standing behind Uke, and grabs Ukes left Butsumetsu with his left hand followed by a right kick to the back of Ukes left knee and pulls Uke onto his back. Uke falls onto his own arm. Henka (Jutte) Hold the Jutte in the right hand. The left hand comes across to grab Ukes hand, and the Jutte comes up and strikes into the inside of the elbow. The tip of the Jutte is then pushed into the armpit. Tori then turns underneath the arm, and places the tip of the Jutte handle into the top of the shoulder muscle, and applies pressure. 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. Henka Uke grabs the right lapel with the left hand. With the right hand cover the grab, and step to the left rear. Change the hand grips, and the right takes hold of his left elbow lightly, Step in front of |Uke with the right foot, and throw, twisting anti-clockwise. Henka Left garb to Collar. Step in with the right foot, then left foot, and twist anti-clockwise, then kneel and throw with his arms barred. Note: Keep your fingers on the Kyusho inside his elbow. Do not concentrate on catching his foot, as this could mess you up in the technique. Just let his foot land were it wants to. Chuden No Tai No Kata (Middle transmission body forms) Koshi Guruma (Hip vehicle) Kuden: 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. Note: This version was printed in Tetsuzan. Henka (Jutte) Uke grabs and attempts the throw. Tori grabs the back of Ukes Obi with the left hand, and as he comes around the front he strikes Uke in the face with the Jutte. Finish as in Kata. Yotsude (Four hands) 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. Yotsude Kuzushi (Four hand balance) 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. 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 Koshi Or (Hip Break) 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. Koshi Nagare (Hip flow) 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. 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. 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.

Mizu Nagare (Flowing water) 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. Ryusetsu (Willow dance/snow) 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. Eichigo Kuzushi (? Balance) 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 able to do a Kaiten, or Ukemi, and will land on his face. 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. Note: It is important to relax both arms when you throw. 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. Tsuta Karame Uke does Ryomune 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. Tatsu Otoshi (? drop) 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 (Inner transmission forms) 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 the Omote Gyaku), and using his body weight brings Tori down with him. Kuden: This refers to blood, and organs being vomited, as your elbow strikes Kuruma Gaeshi (wheel counter) 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. Ten Gaeshi (Heaven counter) 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 Koshi Nage, but kicks Ukes left knee out with the right foot (Uchi Mata) Nagare Dori (Flowing capture) 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 right leg, and pushes Ukes left elbow straight up with his right hand (to put off balance again), and Tori then does a koshi Nage in the same direction as Uke is off balanced, and walks in this direction also. Uke falls onto his back.

Yama Otoshi (Mountain drop) Uke, and Tori are in Kumi Uchi. Tori 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 on top 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. 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. Sode Gurama (Sleeve capture) 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 then strikes 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). 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. 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. Sue Otoshi 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. 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 forearm into Ukes right throat. Ukes right arm is gripped under Ukes throat. Tori is now standing behind Uke, and does Koshi Nage to throw Uke. Uke falls to his back. 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. Gyaku Dori (Reverse capture) Uke grabs with his right hand, and does a left Tsuki. Checks with the left, and steps to the left with Jodan Uke. Tori holds Ukes right arm with Omote Gyaku, and pivots in a clockwise direction. Tori places Ukes arm on his shoulder (still in Omote Gyaku). Tori then goes down to his left knee, and does Gyaku Seio Nage. 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 arm pressed 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. Fusetsu (Snow dance) 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. Eri Shime Gata (Collar choke forms) Hon Jime (Principle choke) Uke grabs the right lapel with the right hand (thumb inside the jacket), and the left with the left hand (thumb inside) with the wrists are crossed. Uke applies a scissor action to apply the choke, with the right forearm against the neck, and pulling with the left hand Henka (Jutte) The Jutte is in the right hand in a reverse grip. The left hand grabs the left collar, and the Jutte passes to the right side, and then to the rear of the neck. Tori's left hand grabs the shaft of the Jutte in the left hand, and pulls to apply the Shime waza. 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. 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. Note: Do not complete the Oni Kudaki, fall forwards still holding his arm. Turn your body (back) to him Itteki Jime (One punch choke) Uke grabs Toris left lapel. Tori places his left 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: 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. Itami Jime (Painful choke) Tori does Ryote Mune Dori, with the palms down. Tori then pulls forward while pushing back and inward with the tips of the knuckles and the thumbs on both sides of the neck. Oshi Jime (Pinning choke) Tori places both hands on the shoulders, and drives Boshi Ken into the side of the neck, just above the collar bone, in a downward forwards motion. Gyaku Oshi Jime (reverse pinning choke) Tori applies Gyaku Jime (grab is high) or Ryomune Dori. Tori then pushes with the thumbs into the neck, in a downward, or upward motion. Then turn and drop him down. If you turn fast he can fly. Suwari Jime (Seated choke) 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. Note: When you go behind Uke, almost jump into place. This is a faster movement. Tilt him back and support him on your knee. Moguri Gata (Submerging forms) Gyakuraku Otoshi (Let fall to heaven) 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. Henka Uke grabs Tori with Gyaku Jime or Hon Jime (Eri Shime Gata) Tori does a right Koho Sabaki, and a right Muso Dori to the left arm, and a left Koho Sabaki. With a left grab to the right arm, Tori turns into position and

does a Ganseki Otoshi. Henka As above, but do a left Yoko Sabaki, to Osoto Gake, followed by a right Sokugyaku Ken to the front right Yaku, and the Otoshi Jigoku Dori (Hell capture) Uke steps forward with a right Jodan Tsuki. Tori steps back to the right 45°, and does a left Jodan Uke, and grabs the wrist with the left hand, and pulls the arm so that it is straight. Moving around the arm, and switching the grip from the left to the right hand, Tori places his left knee against the elbow, and forces Uke to the ground. Henka Tori and Uke are in Kumi Uchi. Tori steps to the left wit Yoko Sabaki to do a Osoto Gake, followed by a right Sokugyaku Ken to Yaku. Tori does not complete the Osoto, but does a right Yoko Sabaki Moguri (Ash Sabaki). Tori ten goes under the right arm, and finishes with a Gyaku Seoi Otoshi Tama Kudaki Uke is in a left Seigan no kamae, and does a left then right Jodan Tsuki. Tori does Jodan Uke to both (first to Ura Kote, second to Hoshi). Tori grabs the elbow with the left hand, and strikes with a right Boshi Ken to the front left Uko., then applies a Osoto Gake, and a right Sokugykau Ken to the front right Yaku. Hicho Dori (Capture the Crane) Ukes does a right Jodan Tsuki, left Jodan Tsuki, and a left keri. Tori does a left Jodan Uke, right 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. Henka Uke is in a right Seigan no kamae, and does a left Jodan Tsuki, right Jodan Tsuki, right Keri, Tori does a Jodan Uke to Ura Kote to both Tsuki, and does a Yoko Sabaki, and a right Sukui Uke. Tori steps to Ukes right leg and a right Sokugyaku ken to the front left Mokuzume, and right Boshi ken to the left side of Uko. Tori grabs the left collar, and with the right hand the left wrist. Turn the right, and down to the right knee, and throw with Tai Nage. Oni Buse Uke grabs the lapel with the right hand. Tori holds underneath with the left hand. Using strength the hand is pulled away, 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 Henka Uke is in a right Seigan no kamae, and does a right, then left Jodan Tsuki., then a left Sokugyaku Ken, and a right Sokugyaku Ken. Tori does a left then right Jodan Uke, then a right then left Gedan Uke, striking into Sai. Tori then applies Osoto Gake. Inazume Nage (Lightning throw) Uke is in a right Seigan no kamae, and does a right, left, then right Jodan Tsuki. Tori does Jodan Uke to Ura Kote. Uke then does a right Sokugyaku Ken. Tori steps to the left, and does a Gedan Uke, and a right Boshi Ken to left Uko. Tori grabs the collar with the right hand. Tori turns to the left, drops to the left knee, and throws with Tai Nage. Mizu Dori (Water capture) Uke is in a right Seigan no kamae, and a right left, right Tsuki. Tori does a left, right left Jodan Uke. Uke then does a right Keri. Tori steps to the left and a right Gedan Uke. Uke, does a another right Keri. Tori does a forward right Uchi Yaku. Tori grabs the collar with the right hand, and throws with Uchi Mata. Kisetsu Uke is in a right Seigan no kamae. He does a right, left, right Jodan Tsuki With the left hand Tori grabs the right Kote. Uke does a right Keri. Tori steps to the left, and blocks. A right Boshi Ken to Uko. Tori then does a left Omote Gyaku (lock not throw). Tori then does Oya Goroshi with the palm up. With the right hand Tori grabs the lapel, and turns to the right, down to the right knee, and Tai Nage. Tai Otoshi (Body drop) 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. Moguri Dori (Submerging capture) 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. Moguri Nage (Submerging throw) 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 with the right heel strike to the back of Ukes left thigh, then steps back down to the right knee. Mutodori Waza (Unarmed against sword techniques) Soja Dori (Ken Jiya Dori) (Boxer capture) Tori is in Hira Ichimonji no kamae. Uke has a Katana and is in Daijodan. Uke cuts with Jodan Kiri. Tori's 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). Tori's 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. Ichimonji (Figure 1) 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. Tsuka Otoshi (Handle drop) 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 Katana, and cuts Uke. Bi Haku Dori / Haku Dori (Redirecting capture) 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. Mawashi Dori (Rotating capture) 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. Ushiro Dori (Rear capture) 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 Or, and with the right hand, Omote Gyaku, and then turn to the right. During the turn strike with a right Shukki Ken to the face, and keep turning until you have your front to Uke. Finish with a right kick to Butsumetsu. 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 Katana at all times in this technique. Daisho Sabaki Gata (Long and Short sword manipulation forms) When you study Daisho Sabaki, it is best to know Kyusho Tsuka Kudaki (Hilt crush) Tori and Uke are both in Shizen with Daisho. Uke steps back with the left foot, and starts to draw the Katana. Tori steps in with the right foot, and follows with the left foot (this is a walking motion), and strikes down with Hidari Shuto to Ukes right Kyukansetsu. Toris right hand takes hold of the Katana tsuka, and lifts it in front of Ukes face, at the same time with a right sanshin style kick to Gedan Renro (Suzu). As Uke drops Tori backs away fast from Uke. Note: When Uke does the shuto he bends his knees. The Shuto knocks the Katana hand out to Toris left. Henka After the Shuto to kote, Tori does another Shuto to Uke throat, knocking him back, or do Ganmen Dori to take Uke down. Henka When Tori steps forward he strike Uke with a right Nio ken to the back of the hand. Tori immediately grabs the wrist, and the left hand grabs the elbow as he steps in with the left foot. Tori turns tot he right with uzimaki to take Uke down. Hiki Dori (Pulling capture) Uke is in Shizen with Daisho. Tori is in Fudoshin (Shizen). Uke steps back with the left leg to draw the Katana. Tori quickly moves in (type of Tobi), and grabs both of Ukes Ryusode (right foot is between Ukes legs with bent knees), Ukes Katana is by Toris right Butsmetsu. Tori lets go of the head and grabs hold of the Katana. Uke drops his posture, Tori steps back pulling the Katana with him, and then in to Tsuki with the Katana to Ukes Suigetsu. Note: The fists strike can be Koppo Ken then turn it into Happa ken. Henka Uke is a little fast (or you slow). Tori takes the Katana hand with his right hand, and the elbow to the left of the Tsuka, and moves it across to Toris right. Tori then does a Ryote Happa Ken to Mimi. Tori then does a Ganmen Dori to take Uke down. Henka Instead of Ganmen Dori, pull Ukes Katana away from him, and a Jodan Kiri, or Kesa Kiri to the back of Ukes neck. Iri Dori (Entering capture) Uke is in Daijodan, and does Jodan Kiri. Tori is in Hira Ichimonji. As The cut comes in Tori moves in under the arms (*), and drops to the left knee, striking with a right Shikan ken to Suigetsu. Tori grabs Ukes Shoto, and as he rises and steps a little back to the left he draws it. With the right hand under, grabbing the back of the blade, Tori rocks, or steps in with the right foot, to Tsuki at Uke Note: * Use the feeling of ‘If you step in , ahead lies Paradise’ Henka When you grab the Shoto, instead of stepping back with the left foot. Tori grabs the jacket with the right hand, and draws the Shoto with the left. Restraining Uke Tori does a Tsuki to Uke with the Shoto Ran Gaku (Jagged peaks) As Uke is walking Tori follows behind him. (same as Oi Kage). Tori speeds up the pace to move to Ukes left side. Tori then turns to face Uke, and takes Ukes left hand in his left hand, the right hand grabs the base of the Wakizashi Saya Kojiri. Uke now tries to draw his Katana, Tori pulls the left hand and applies pressure with the Saya. Tori then forces Uke to the ground. Note: If Uke will not go to the ground place the right knee into the back of his knee. To keep him pinned to the ground, place the foot on the end of the Saya. Et Dori (Sukui Dori **) (Hand capture) Both Uke and Tori are in Shizen with the Katana sheathed. Uke steps forward with the right foot and starts to draw the Katana. Tori shifts a little to the left with the left foot (‘in the blink of an eye’ 6th sense). Tori kicks up with the right foot to knock Ukes right hand away, Tori then steps forward with the left foot, and grabs Ukes wakizashi with the left hand, without stepping Tori strikes with a right Fudo Ken to Ukes chin, and then steps back with the left foot draws Ukes Wakizashi breaking clear from Uke. Tori steps back in with the left foot, and does a Tsuki with the Wakizashi to Ukes stomach / ribs. Tori then retreats.

Note: The kick to the arm is a push kick, and it is directed to the elbow. When back away with the Wakizashi the knees are bent. The Wakizashi is also held with the right hand on the back of the blade. The cutting edge is up. Ryu Koku (Ryu Kotsu **) (Willow bone) Tori is in Shizen, Uke is in Daijodan no kamae and cuts with Jodan Kiri. Tori steps out to the left, and turning a little to the right places his left hand on top of Ukes left hand. Without stepping Tori strikes to the chin with a right elbow, by turning from the hips up keeping the knees bent. Tori lifts his left hand up a little and moves to the right pushing Ukes hand with him. As He steps Tori takes the Katana away from Uke with the right hand, and then cuts with a overhead Yoko Ichimonji (L-R) Note: The Taisabaki is the same as notching an arrow to a bow Ushio Gaeshi (Tide reversal) Tori is in Shizen Uke is in Daijodan no kamae, and cuts with Jodan Kiri. Tori shifts both feet slightly out to the left in a sliding motion. Without stepping Tori strikes to Sakkotsu (Nagare) with a right Shuto (Uke drops the Katana). From the Shuto the right hand slides up Ukes arm and strikes with a right Fudo Ken to Jinchu. The right foot then shifts behind Ukes right heel, and is swept back with Ash barai Ke Ryaku (Ke Kimono **) (Hooking and felling) Uke is in Daijodan no Kamae, and cuts with Jodan Kiri. Tori is in Shizen. As Uke cuts Tori moves in under Ukes arms on the forearms (the fingers face towards Uke wrists). Tori kicks up with the right foot / shin to the groin, and places it to Uke left as far as possible past Uke. As He steps Tori takes Ukes left hand in his left hand. Tori then grabs the Kojiri of the Saya, and lifts it up. The mouth of the Saya is across Ukes left forearm (the Saya passes throught he groin). Note: Keep low when going under the Katana. Use the elbow in the small of Ukes back to help force him to the ground. Ora Dome (Kote Dome **) (Wrist stop) Tori is in Shizen, Uke is in Daijodan no Kamae, and cuts with Jodan Kiri. Tori steps out to the left, and turning places his left hand on top of Ukes left hand. Tori steps forward a little with the right foot, and the right hand comes up underneath Ukes hands, and takes hold. Tori twists the body to the left and does Omote Gyaku. Tori drops down to the left knee having moved a little across to the right. The Katana is now placed on Ukes neck, and is pulled to cut. Note: When the Omote Gyaku is done, the Katanas position does not move, Tori comes underneath it. It does not go to Ukes throat. It is important to use all 5 areas of the body as you do 5 strikes to Ukes body Note: In the Densho is starts by saying ‘I evade by opening up my right to the rear left’. Oto (Side sword) Both are in Shizen. Uke goes to draw his Katana. Tori steps forward with the right foot on to Ukes right foot. Tori places his right hand on Ukes right wrist to stop him drawing the Katana. Uke retreats to gain space, but Tori follows him. As he follows Tori pushes the Tsuka towards the ground making it harder to draw the Katana. Tori gets close enough so that he can place his left hand on the Tsuka, with his left forearm against Ukes. Tori then steps in a little to strike with a right Shukki to Asagasumi. Tori then pulls away taking the Katana with him, then steps back in with a Uko Kiri Note: When following Uke keep the knees bent Kuruma Nage (Waterwheel throw) Both are in Shizen. Uke steps forward to draw the Katana. Tori steps out to the left, and places his right hand on top of Ukes right hand Tori the moves his right hand across the front of his body, placing the Katana hand into his left hand. Tori steps forward with the right foot between Ukes legs Tori strikes with a right Shukki to Suigetsu. Tori then grabs the left Pectoral with the right hand, and places the left foot on Ukes right foot (or kick). Tori the drops to his left knee, and pulls the left hand and pushes with the right to throw Uke. As Uke falls Tori takes the Katana away from Ukes to the cut his while he is on his back. Note: The Katana hand is pulled straight so that Tori does not cut himself when he does the Shukki Yotsu Shuto (Yotsu De To **) (4 hand sword) Both are in Shizen. Uke walks forward then goes to draw the Katana. Tori steps back 45 degrees to the left, and places his right hand, on the Tsuka (Important to hide your left side for Uke). Tori turns a little to the right and grabs the Wakizashi with the left hand, at the same time kicking Ukes right knee, or stamping on the right foot (Kyokei) with the right foot (He is distracted). Tori releases the grip on the Katana, and pulls the Wakizashi clear (after stamping on his foot, he retracts it, this helps to pull the Shoto clear), and places the right hand on the Wakizashi Mune, and rocking / stepping forward with the right foot, does a Tsuki Note: As The Shoto’s Kissaki clears the Sayaguchi/Koiguchi, this is the time to thrust in.

Nin Ketsu (Ha Musubi **) (Blade knot) Both are in Shizen. Uke moves forward to draw his Katana. Tori moves to the left forwards with the left foot, and turns to the right. Toris left hand comes across to take Ukes left hand, and the right hand takes hold of the Wakizashi. Tori turns to his left drawing the Wakizashi, and grabs the Wakizashi Tsuka also with the right hand. Tori steps forward with the left foot, and turns to the right with a Yoko Ichimonji Kuji Kiri Note: The Kuji Kiri is done the same as the Kanji for ‘Ku’, and Japanese 9 Sukashi Dori (Sparing capture) Uke is in Daijodan no kamae, and cuts with Jodan Kiri. Tori is in Shizen. Tori steps with both feet out to the left. Uke the stepping back with the right foot, cuts with a L-R Yoko Ichimonji, Tori steps back. As Uke then raises the Katana to Daijodan no Kamae, Tori rushes in dropping to the left knee, places the left hand on the base of the Katana Tsuka, and strikes with a right Fudo Ken to Suigetsu. As He rises Tori strikes again with a Fudo Ken to Suigetsu, and steps back and around with the left foot, so that his right foot is across Ukes left foot (Tori is standing at Ukes left side). Tori holds Ukes left hand in his left hand, and the right hand has the left Bicep. Tori sweeps back the right foot, and pushes with the right hand, and pulls with the left hand. Note: As Tori turns and rises off the knee, his right hand now grabs the bicep.

TOGAKURE RYU

KOTSU Katachi (Kata) Wa Nai - No Fixed Forms No matter what line of theories other martial artists may preach, in practice devoting oneself to perfecting kata or techniques (Waza) tends to force one into a set way of thinking and responding. An opponent can and will make use of this. At the early stages it is necessary to teach such things so that the basic principles of the art can be absorbed into the unconscious: if a total beginner tries to catch just the “feeling” from the very start they will make little progress. They should learn the basics from a good local teacher and then come to Hatsumi Sensei to discover the deeper aspects. He promises to then destroy all forms which have become fixed habits. Do not carry through technques with your hands. Your legs should form a flowing base and do all the work, leaving your hands as free as possible. Your whole body (Karada Zentai) should work as one. Walking (Aruku) naturally, especially with short steps (Komata) is essential, as is having a flexible backbone. The Sanpo Hiden is related to the three main kyusho of Togakure Ryu, as used by the Togakure Ryu Bugeisha. These are the Eye's. Ears, and the Groin. You do not have to strike these areas hard to harm them. Everyone, including women, are vulnerable in these areas. The Sanpo Hiden also includes other areas of weakness. Do not seek out enemies, but rather avoid it. To avoid is better than having to deal with them. Sanpo Hiden (Three Secrets Ways) 1. Senban Shuriken A four pointed throwing star, to which this design is exclusively unique to the Togakure Ninja. 2. Shuko Also known as Tekagi, these are metal bands around the palm of the hand with four metal spikes projecting from the palm, another metal band is around the wrist. A piece of leather joins the two metal bands together. This was a climbing tool, and also used in the defense against sword attacks. 3. Shinodake This is a small, short bamboo tube 4-foot long (1.20m) long, use to aid breathing when hiding under water. Also used as a blowpipe (fukiya). Sometimes a broken Scabbard was used.

KYUSHO Kinteki: This the groin area Happa: This is the ears. Metsubushi: This is the eyes.

KAMAE ICHIMONJI NO KAMAE (Figure Number 1 posture) The left leg is forwards. The left hand is out stretched pointing at Uke. The body leans back away from Uke. The right hand is open and is held close to the face under the chin. This is so if Tori is wearing Shuko, they are not easily seen. DOKO NO KAMAE (Angry Tiger Posture) Similar to Ichimonji no Kamae, except the body does not lean backwards, and the right hand is held above the head, and the right hand is in Fudo Ken. TONSO NO KAMAE The body posture is similar to Ichimonji no Kamae, but give the Uke the impression that you intend to move in a different direction than you appear to be going. i.e. If leaning back, move forwards or to the side. HAPPO GAKURE NO KAMAE (Eight ways of hiding Posture) Left foot forward, the body is upright, and the arms are held above the head out-stretched. HACHIMONJI NO KAMAE (Eight forms posture) The posture is the same as that of Doko no Kamae. Except the right hand is open, and the finger tips point at Uke, The palm of the hand faces the ground. HATTO NO KAMAE Drop the body weight and bend the knees (as if on a horse). The fist is in the palm of the hand. The elbows are up and out.

WAZA Zan To Tonko No Kata (Escape practice form) MIGI KATA UDE TONSO KATA (One hand escape practice form) Uke uses his right hand to grab Tori's right wrist. Tori, and Uke, both go into Hachimonji no Kamae. Uke pulls Tori, backwards three times in a shuffle step. On the second step, Tori lifts Uke’s hand up into Take Ori. On the third step Tori, kicks Uke in the groin with the right foot, lifts Uke’s right arm up with the Take Ori, and turns under the arm anti clockwise. Tori then throws (Katate Nage) Uke to the ground by the wrist, and then scatters Metsubushi into his face. Tori then escapes with Chi Tobi. Henka As Uke does the first pull, move further in. Turn to the left. Place the back of his wrist against your chest, hold the elbow, and wrist (all bent at 90 degrees), and apply pressure. Henka When Uke pulls Yoko Aruki in to Uke. Move the right hand to the left side of the neck, and apply pressure with Ko Ken. Ashi Barai. Henka As he pulls turn your hand to the left, then right and up on top of his wrist, and hold it. The left hand goes to the elbow. The left foot sweeps his right foot back while you apply pressure. HIDARI KATA USE TONSO KATA (Right - left escape practice form) Uke grabs Tori’s left wrist with his right hand. Both then move into Hachimonji no kamae. Uke then pulls Tori with three short shuffle steps. On the second step, Tori moves his hand so that he hold Uke’s wrist. On the third step Tori lifts Uke’s grabbing hand up in Take Ori. Tori grabs Uke’s right shoulder with his right hand, kicks to the groin with his right foot, and stepping straight back drops to his right knee, bringing Uke with him.

Tori then scatters Metsubushi, and escapes with Chi Tobi. Note: When Uke pulls - On the first step, Tori drops his left hand slightly so that his thumb is below the level of Uke’s wrist. On the second step Tori lifts his hand back up again so that his thumb now lies along the outside of Uke’s wrist. On the third step, Tori rotates his left thumb in a clockwise direction until the thumb is pointing downwards, while keeping it pressed against Uke’s right wrist - this will rotate Uke’s arm until his elbow is pointing up. There is very little strength in Uke’s arm in this position and when Tori moves in, Uke’s arm will easily go into position for Take Ori. The first two maneuvers for steps one and two allow Tori to weaken Uke’s ability to pull and get into the correct position for Take Ori without Uke being aware of it. Henka As he pulls, apply Take Ori, and place your right hand on the back of his hand and Ura Gyaku, and the left goes to the elbow. Drop Uke with the lock, sweeping him onto his back. Henka The right hand goes to the shoulder, while the left pulls into the chest. Pull Uke to the ground, and O-Gyaku. Henka 90 degrees Take Ori. Right hand to the bicep and flesh grab. Turn Anti clockwise, under the arm, with the left leg over his leg. Drop to the left knee, and throw. Keep the left trapped. MIGI TE KUBISUGI TONSO KATA (Rear escape practice form) Uke is behind Tori, and grabs the back of his collar with the right hand. Uke then pulls Tori back with three short shuffle steps. On the third step, grabs Uke’s right hand with his right hand. Tori drops his body weight, turns to the left, and strikes Uke in Butsumetsu with a left Shuki ken. The left hand then takes hold of Uke’s bicep, and the right hand lifts Uke’s right hand from the collar. With a rolling motion of the left hand (Ura Gyaku) Tori throws Uke. Tori then scatters Metsubushi, and escapes with Chi Tobi. Henka As you turn to the left lift the left hand, under his right arm, and drop him with Ganseki Otoshi. Henka Grab the hand then turn under the arm so that his hand is on the right shoulder. Place the left foot on top of his right foot. The left hand is on his elbow. The push Uke face down on to the floor. Henka When he pulls, slide the left leg back between his legs, and bump into him to push him back and down. Note You can step on his foot to trap him. ATEKOMI TONSO KATA (Strike, and escape practice form) Uke has a Katana in Daijodan, and cuts with Jodan Kiri. Tori is in Doko no kamae. As the sword comes down, Tori rushes in under the sword, and strikes with Boshi ken to Gorin. Tori then leaps back to the left and escapes with Ukemi. Henka When you move in kick his right leg out with your right foot, so that he falls face down. Henka Move in as in the Kata, and strike the groin. Henka The left knee drops on top of his right foot, then kick up with the right foot into his groin. KOTE UCHI TONSO KATA (Arm strike escape practice form) Uke is in Daijodan, and cuts with Jodan Kiri. Tori is in Doko no kamae, and moves to the left, and strikes down with a right Shuto to the top of Uke’s right forearm. As Uke drops the sword, Tori turns the hips to the left, and strikes with a left Shikan Ken to Butsumetsu (drops to the left knee). Tori then rises and moves to the right so that he faces Uke on the right side, and scatters Metsubushi. Tori then escapes. Henka Right hand down. Turn 180 degrees to the left so that the left foot goes across the front of his right leg, and knock him backwards. Henka The right hand grabs the sleeve of the elbow. Tori then does a Yoko Aruki in front of Uke (left over the back of the right), and slams his body into the front of Uke, knocking him back. Henka The right hand is on top of Nagare. The left hand goes across the front of the throat and grabs the left collar. The left foot sweeps the right foot forward, and pulls on the collar knocking Uke onto his back. Note Control the arms MIGI UCHI TONSO GATA (Right strike escape practice form) Tori is in Happogakure no kamae. Uke is in Chudan no kamae, and strikes with Chudan Tsuki. Tori shifts to

the right, brings the left hand down, and grabs the handle of the sword. The right hand follows, and strikes with Shuto to Uke’s left forearm. Tori pulls the Katana away from Uke, Tori then jumps backwards, takes the metsubushi, and scatters it in Uke’s face and escapes. Henka The left hand drops onto the left hand. The right hand comes underneath and grabs the sword handle. Tori pulls this back under the hands (sword is held in a reverse grip). Tori pulls the left hand and cuts down on to the back of the neck. Note Keep the hand close to the stomach Henka Same as before. But Tori does a Tsuki with the Kashira to Wakitsubo or under the armpit. Tori places his right foot across Uke’s left leg, and throws him to Uke’s right side. Henka Same as before. Tori places the sword on the back of Uke’s neck, and then pulls Uke across to his left. The sword is then placed across the throat (Tsuka to the right). The left hand takes the blade and pull with both hands to cut the head off. SAYU KUMOGAKURE KATA (Two handed cloud form) Two Uke face Tori in Daijodan. Tori is in front of them with metsubushi in each hand. As the Uke prepare to move in, Tori lifts his hands above his head, steps forward, and throws the metsubushi into the their faces. As he throws the Metsubushi, Tori drops low, and passes between the Uke, striking them both in Butsumetsu with Boshi Ken. Tori then does Ukemi, and escapes. Note A 3rd attacker can first be hit with Shuriken KOSEI KIRIGAKURE KATA (Attacking fog form) Several Uke surround Tori with the Katana held high, or in Chudan no kamae. Tori assumes Tonso no kamae. Then turning randomly to each Uke, Tori scatters several Metsubushi in all directions to develop a screen. Then Tori starts to throw Shuriken at the startled Uke, and escapes in the confusion HAPPO KIRIGAKURE KATA (Disappearing into the fog in all directions) When Tori is surrounded by many Uke, he throws Shuriken to the front then Metsubushi to the rear. Tori then drops to one knee, and throw Shuriken in all directions, and escapes using Ukemi.

Hiden Gata CHU GAESHI (Middle roll) Tori is in Shizen. Uke is behind in Hasso no kamae. Uke advances silently, and slowly towards Tori. When Tori senses the danger behind him, he steps forward, and rolls away. TOBI GAESHI (Jumping roll) Same as Chu Gaeshi. After the roll, Tori jumps forward. YOKO GAESHI (Sideways roll) Same start as Chu Gaeshi, except Tori only does Yoko Nagare to escape from Uke. KIRI GAESHI (Cutting roll) Tori has a Katana in Chudan no kamae. Three Uke face him with Katana in different Kamae. 1. One steps forward with Chudan Tsuki. Tori steps forward to the left, and cuts with Do Kiri. 2. Steps forward with Yokomen Kiri. Tori advances and cuts with Do Kiri, and turns to face number 3. 3. Cuts with Jodan Kiri. Tori advances very fast, and cuts again with Do Kiri. Note: All Do Kiri are from left to right

Shuko Ukemi Gata KAESHI DORI (Counter Capture) Uke is in Daijodan, and cuts with Jodan Kiri. Tori is in Ichimonji no kamae. Tori rolls forward under the cut (start the roll before the cut). As the roll is completed, Tori strikes with both feet to the stomach, and then rolls back into a Gedan Ichimonji no kamae.

KEN NAGARE (Sword flow) Uke is in Daijodan, and cuts with Jodan Kiri. Tori is in Ichimonji. Tori steps forward with the right foot, and drops to the left knee. Tori strikes with the right Shuko in a down ward strike, down the right thigh. Tori rolls back to a Gedan Ichimonji. ICHI NO KAMAE (Number 1 posture) Uke is in Daijodan, and cuts with Jodan Kiri. Tori is in Ichimonji no kamae. Tori steps forward with the left foot, places the right Shuko on Uke’s right hand, then strikes with the left Shuko into the cheek. Note: Also on the right side, and also using Yoko Aruki. ITTO DORI (One sword capture) Uke cuts with Jodan kiri. Tori steps straight forward with the left foot, and drops the body weight. The right hand is lifted, and the blade is trapped in the palm of the right hand. The left hand comes around the other side of the blade, twist the hands to lock the sword into place. The right foot comes up and kicks Uke in the stomach or Kinteki. Tori then turns to the left, and then the sword is pulled from Uke. Note: It is important that the palm is at the same angle as the down coming blade, and that the fingers are bent back, to avoid being cut off. The arm is bent, to allow for the shock of Shuko, and Katana meeting. YOKO GIRI (Sideways cut) Uke is in Chudan no kamae, and does a Tsuki. Tori is in Shizen Tori kicks with the right foot, to the hands. As the foot comes back to the ground, Tori shoves the right Shuko into Uke’s face. ITTO GIRI (One sword cut) Uke is in Daijodan, and cuts with Jodan Kiri. Tori is in Ichimonji. Tori shifts the body to the left (do not move the feet). The right hand takes hold of the top of both sword hands. Tori takes the sword away, and cuts to the ribs.

Shinobi Gaeshi Gata The name of this Kata has two meanings 1. To conceal one's self a top a roof or wall and from there gather information, or attack the enemy from above. 2. To place something to stop someone getting over the top e.g. glass SHIGE GAESHI (Lying on top counter) Tori lays on top of a wall. He removes a Shuriken from his jacket, and throws it. Tori then drops to the ground at the rear, and rolls when he contacts the ground SHIGE DORI (Lying on top capture) Same start as Shige gata. As Uke walks along the length of the wall, Tori kicks out to the side, as Uke reaches him. Tori then drops to the ground at the rear, and escapes. YOKO NAGARE (Sideways flow) Tori is in Shizen. Uke is behind with a Yari in Chudan no kamae, and another Uke is in front with a Katana, in Daijodan. The front Uke cuts with Jodan Kiri. Tori throws either a Shuriken, or Metsubushi in to Uke’s face, and then rolls to the left (Yoko Nagare), Tori comes up to face the other Uke, and again throws either Shuriken or Metsubushi. USHIRO NAGARE (Backwards flow) Tori faces three Uke, each with a Yari. Metsubushi is thrown in a wide arc by Tori. Tori then rolls with Koho Kaiten (Ushiro Kaiten) to escape. These movements are for situations when one is discovered by the enemy while hiding. Omai Tori is surrounded by eight attackers. Uke(1) punches right jodan tsuki from a left ichimonji no kamae. Tori steps to the left with the left leg and shifts his right leg to the inside of Uke`s right leg. Tori then uses his right knee against the inside of Uke`s right knee to take him down. Uke(2) punches right jodan tsuki from a left ichimonji no kamae. Tori steps forward with the left leg to the left

and strikes to Uke`s chest with his right shoulder. Uke(3) punches right chudan tsuki from kosei no kamae. Tori moves to the left side and throws Uke over his right knee by grabbing Uke(3)`s right wrist and shoulder and pulling in a circular motion. Uke(4) approaches in hoko no kamae. Tori grabs Uke`s left lapel with his right hand and Uke`s right thigh with his left hand. Tori then steps round to his left, pulling down with his left hand and up with his right while twisting to the left and dropping. Tori then walks forward to throw Uke over Tori`s right knee onto his back. Uke(5) punches right jodan tsuki from a left ichimonji no kamae. Tori ducks to the left and blocks with his right hand, whilst stepping between Uke`s legs with his right leg. Tori then lifts Uke onto his back and throws him to the floor by lifting Uke`s right leg with his left hand. Uke(6) punches right jodan tsuki from a left ichimonji no kamae. Tori kicks backwards 45o to the right, striking Uke`s suigetsu with his heel. Uke(7) runs in attacking with right jodan tsuki. Tori steps to the left and catches the punch with his left hand, then kicks with his right heel to kimon. Tori steps behind Uke`s right leg with his right and pulls Uke`s hand down to the left to throw Uke over Tori`s right leg (Tori uses his right hand on Uke`s left mune to assist the throw). Uke(8) punches right jodan tsuki from a left ichimonji no kamae. Tori steps right with his right leg and blocks with his left hand, striking omote shuto to uko with the right hand. Tori grabs Uke`s right wrist with his left hand and kneels whilst turning to his right to throw Uke. Tchoka Kunoichi with parasol is faced by two attackers. The parasol is printed with a large yellow off centre circle. Tori separates the attackers by moving around while spinning the parasol. Tori closes the parasol and strikes the rightmost Uke(1) to his right kasumi with the parasol's handle. Tori strikes Uke(2) to shinchu with the point of the parasol and opens it up. This momentarily blinds Uke as Tori strikes to ganmen with shako ken. Tori moves back to Uke(1) while again spinning the parasol. Tori strikes to shinchu with the point of the parasol, before dropping the parasol and removing her shoes. Tori picks up the shoes and strikes Uke(1) at hoshi, inside the knees, the ankles and ganmen to knock him out. Tori turns to Uke(2) and throws the shoes at him before grabbing metsubushi and throwing to his eyes with a sanshin movement. Sannindori Tori is held by three attackers, one on either arm and one holding with an overarm bear hug. Tori raises his arms and drops his body out of the hug. From a kneeling position, Tori turns his body to the right bringing his left arm over his head and his left arm in front. As the attackers fall over each other, Tori restrains by sitting on top of the topmost attacker. Futo Tori and Uke stand in shizen no kamae. Uke kicks with a right zenpo geri to shinchu. Tori moves with his right leg to the inside and catches the leg with his left hand. Tori then kicks with his right heel to the inside of Uke`s supporting leg. As Uke falls, Tori swaps the grabbing hand for his right hand and walks forward to trap Uke`s left leg and push his right leg up to stretch the hamstring. Rakka Tori stands in shizen no kamae confronted by three attackers, one in front and one at either side. Uke(1) (the one directly in front) punches with a right jodan tsuki. Tori steps in with his right leg, ducking his body under the punching arm, and takes Uke down by standing and applying pressure to Uke`s right koe. Without stopping, Tori turns to his right and kicks Uke(2) with a right zenpo geri. Tori then faces his third opponent in a left ichimonji no kamae. As Uke(3) punches with a right jodan tsuki, Tori steps to the outside with his left leg and catches the punching hand with his right hand. Tori grabs hoshi with his left hand and spins to his right to throw Uke(3) onto Uke(2)`s legs. Tori then restrains by placing Uke(3)`s arm along Uke(2)`s left leg and kneeling on it with his left knee whilst straddling Uke(2) and separating his legs with the right arm. Iwamawashi Tori stands in shizen no kamae faced by two attackers. As the rightmost Uke(1) punches with a right jodan tsuki, Tori steps to the left and catches Uke(1)`s right wrist with his left hand. As Uke(2) punches right jodan tsuki, Tori steps left again and brings Uke(1)`s arm under Uke(2)`s punching arm Tori steps behind Uke(2) and pushes him over Uke(1). Tori then grabs Uke(2)`s right arm and bars it against

Uke(1) right arm to restrain with oni kudaki. Tchigiri-Ito Kunoichi is armed with ball and ribbon and faced by two attackers. Tori steps and strikes tsuki with the ball to ganmen of the left Uke(1), then stamps with the right foot to the outside of Uke(1)`s left knee. When he has fallen to the ground, Tori swings the ball over her head to strike suigetsu. Uke(2) then punches right jodan tsuki. Tori steps to the left (outside) with her left leg, trapping Uke(2)`s punching arm from the inside with the ribbon and pulling his body down. Still trapping Uke(2)`s arm, Tori swings the ball up to strike jinchu and switches the ribbon from Uke(2)`s arm to his neck as Tori moves behind. Tori then moves to Uke(2)`s left side round the front to apply the choke and bring Uke(2) to the floor (when choking, Tori`s right fist is applying pressure to Uke(2)`s uko). Otani Tori and Uke stand in gedan no kamae armed with bisento. Simoutaneousley, they strike menuchi but miss each other. They then strike kesa giri (right to left) into the ground and use the handle to vault behind each other (almost like a cartwheel). Whilst crossing in mid-air, Tori kicks out at Uke but misses and as Uke comes out of the vault, he turns to the left continuing the motion and strikes do giri. As they face each other, Uke throws metsubushi, which Tori avoids by striking the metsubushi in the air and covering his eyes with his forearm. Uke then strikes men uchi which Tori avoids by stepping left and swinging his right leg behind him to a kneeling position. Tori strikes down with the handle of his weapon to the back of Uke`s blade to bury the bisento in the ground, and strikes at Uke keisa giri. Uke rolls backwards into a handstand, kicking the blade of Tori`s bisento out of the way and coming onto his feet, while Tori rolls zenpo kaiten with the motion of his strike. Uke then draws a tanto and uses a low cartwheel to approach Tori but Tori uses the handle of his weapon to throw Uke into the air over his head behind him. Tori attacks men uchi but Uke rolls across his shoulders to circle Tori and come behind him. Tori is kneeling in tenchi no kamae, blade down, and Uke approaches slashing with his tanto, but Tori rolls at Uke`s legs and Uke jumps over him with a cut and lands rolling. Tori again kneels in tenchi no kamae as Uke approaches in daijodan no kamae. Uke cut menuchi and Tori blocks to the outside (still kneeling) and catches Uke`s wrist with his right hand. Tori places the handle of the bisento on Uke`s right tricep and steps in like ganseki nage to kick Uke`s left knee on the inside. When Uke is on the ground, Tori strikes down with the bisento. Nyo-Ibo Tori is armed with a nyo-ibo and is surrounded by three swordsmen. Tori strikes down menuchi at Uke(1) and Uke(1) avoids by jumping back. Tori holds the nyo-ibo in tenchi no kamae as Uke(1) cuts keisa giri right to left. Tori blocks by standing behind his weapon to the left side and kicking up to Uke(1)`s arms with his left leg to disarm him. Tori then strikes to shinchu with the end of his weapon and pushes Uke(1) back and down to the floor to crush him. Uke(2) also attacks keisa giri left to right and Tori blocks in the same way, this time standing to the right of the weapon and kicking with the right foot to kinteki. Tori then takes Uke(2)`s right hand in his right hand and bars it against the staff, pushing down to take Uke(2) to the ground where Tori takes his sword and cuts to the neck. Uke(3) approaches in daijodan no kamae as Tori stands in tenchi no kamae. Tori strikes with menuchi before resuming tenchi no kamae. Uke(3) thrusts chudan tsuki, Tori catches Uke(3)`s right hand with his right and locks oni kudaki against the staff. Tori then takes Uke(3) down with his knee, takes the sword and cuts. Kyoketsu Tori is in ichimonji no kamae with kyoketsu shoge, Uke is in seigan with sword. Tori spins the ring of the kyoketsu shoge and strikes Uke`s hands menuchi, causing Uke to drop his sword. Tori regains the ring and strikes menuchi again, but Uke avoids and catches the rope. Uke then holds the rope with his left hand and flings the ring at Tori as he rushes in. Tori stabs with the knife to Uke`s stomach, flipping Uke over into a forward roll and as Uke comes out of the roll, Tori catches Uke`s throat with the hook which he uses to restrain while he ties Uke up with the rope. Shinobi Yari Tori is armed with yari faced by four swordsmen. Tori thrust to Uke(1)`s sword and spins it in an inwards clockwise direction to bring Uke(1)`s sword to his neck and push him over sideways. Uke(2) attacks menuchi which Tori deflects to his right with the handle of the yari. This motion brings the point of the hook to the back of Uke(2)`s neck and Tori pulls the yari in to hook Uke`s neck. Tori steps to the

left side and applies a choke with his right forearm, turning to the right to cut Uke`s neck. Uke(3) stands in seigan no kamae and Tori uses the point of the yari to knock the sword to the right and thrust in to the stomach. Uke(4) stands in daijodan and cuts menuchi. Tori steps to the right (outside) and uses the middle of the handle against Uke(4)`s wrist and pushes (the end of the handle is inside Uke(4)`s right thigh). When Uke(4) falls, Tori thrusts to his back. Mezashi Tori stands in seigan no kamae with shinobi zue, Uke is in daijodan no kamae with sword. Tori thrusts tsuki to Uke`s uko to stab with the concealed point, then strikes to Uke`s right kasumi with the handle. As Uke makes a final lunge, Tori steps to the left and strikes with the middle of the staff to Uke`s shinchu to fold him. Tori then strikes Uke`s back to down him and then thrusts to his back with the point. Toami Tori stands in gedan no kamae with bo, Uke is in seigan no kamae with sword. Tori strikes to the sword and spins it in an anticlockwise circle, Uke moves back and strikes menuchi. Tori blocks tenchi no kamae, rolls the bo to the right side of Uke`s neck and takes down by turning to the right. Then Tori(2) throws a net over them both with a sanshin movement and ties Uke up. Fusetsu Kunoichi is armed with naginata in ten chi no kamae, faced by two swordsmen in seigan no kamae. Tori cuts upwards keisa giri (left to right), cutting Uke(1)`s hands and follows the movement round in a figure eight to cut Uke(1)`s back (right to left). Tori attempts an upwards keisa giri (left to right) which Uke(2) blocks. Tori then switches hands on the naginata and strikes straight down with the handle on to Uke(2)`s head. As Uke(2) falls, Tori switches hands again and brings the blade down to cut Uke(2)`s right leg at the ankle. Nuki Tori armed with shuko is faced by three swordsmen, one in front and one either side. The right Uke(1) attacks menuchi from daijodan no kamae. Tori moves to the left (outside) and catches Uke(1)`s right arm with his right shuko whilst striking to shinchu with a left shikan ken. Tori then turns in front of Uke(1) to Uke(1)`s left side and turns to throw Uke(1) over his right knee with the right hand. Uke(2) (the one in front of Tori) attacks menuchi from daijodan no kamae. Tori moves underneath, catching Uke(2)`s arms at the elbow and digging in with the shuko. Tori then throws by lifting his right arm and dropping his left while twisting to the left. Tori then kicks Uke(2) in the left ribs with his right foot. Uke(3) also attacks menuchi from daijodan no kamae. Tori catches the blade with the right shuko and twists it to capture the blade. Tori then takes the blade down to his left, then his right to distract Uke(3) and strikes with the left claws to Uke(3)`s face. Tori then puts the blade behind Uke(3)`s neck from Uke(3)`s left side, holds it with both hands and twists to the left to take down. Tenguto Kunoichi and Uke face each other in shizen no kamae. Uke swings to Tori`s head with his right fist. Tori steps back with the right leg and ducks under the strike. Tori strikes Uke`s suigetsu with a right sanshin movement, while at the same time placing her left hand on the back of Uke`s right shoulder. Tori then steps to the left with her right leg while turning and bringing her right hand to Uke`s right wrist as he falls . Tori kneels with her right knee on the back of Uke`s right arm and reaches over to grab Uke`s left arm and pull it back, restraining it with her right shoulder, head and left arm. Tori then draws a knife with her right hand and cuts Uke`s throat, then places the knife in her mouth. Koku Tori stands in a left doko no kamae, Uke stands in a left ichimonji no kamae. Uke strikes right jodan tsuki, Tori moves to the right (inside) and blocks left jodan uke, followed by a reverse right omote shuto to the same spot (hoshi). Uke then kicks right zenpo geri, Tori moves left (outside) and kicks with a right shin kick to Uke`s leg, turning Uke`s back to Tori. Tori moves in behind Uke, strikes right shikan ken to Uke`s right kidney and takes his balance with the right foot on Uke`s right knee to throw him to the right onto his back. Ten Tori and Uke stand in shizen no kamae. Uke strikes left chudan tsuki and Tori moves to the left, allowing Uke`s arm to go between Tori`s right side and arm. Tori also stands on Uke`s left foot with his right foot and turns to the left to apply an arm bar and bend Uke`s body down. When Uke is level to the ground, Tori kicks right zenpo geri to Uke`s left ribs.

Ukiashi Tori is in shizen no kamae, Uke is in ichimonji no kamae. Uke strikes right jodan tsuki, Tori steps to the right and catches Uke`s right wrist with his left hand. Tori then steps in with his right leg behind Uke`s right leg, at the same time bringing his right arm to the back of Uke`s right upper arm to bar it. Tori then takes Uke down to his rear with a right leg sweep, stamps on Uke`s right ribs with his right foot and bars his right arm on Tori`s left knee. Tatenagare Kunoichi stands in shizen no kamae, Uke approaches from the left side. As Uke grabs her left arm with his right, Tori strikes his left arm with a right ura shuto, then raises right shako ken to Uke`s face. At the same time, Tori`s left arm comes up behind Uke`s right and she steps between his legs with her left leg. Tori then steps through and throws Uke sideways to the left with ganseki nage. Tori kneels on her left knee keeping Uke`s right arm locked, stamping on his left arm with her right foot and applying shako ken to ganmen. Tori then strikes right ura shuto to uko and releases Uke`s right arm to reinforce the shuto with a left fudo ken (the bottom of the fist). Kageashi Tori stands in shizen no kamae, Uke is in a right ichimonji no kamae. Uke punches with a left jodan tsuki and Tori responds by stepping out 90o to the left and striking to suigetsu with a right ura shuto. As he strikes, Tori steps with his right leg between Uke`s legs, raises his right arm behind Uke`s left and throws with ganseki nage. When Uke is grounded, Tori follows and stamps to the head. Henryu Tori stands in shizen no kamae, Uke is in a left ichimonji no kamae. Uke strikes with a right jodan tsuki and Tori steps to the left with his left leg and catches Uke`s right wrist with his right hand. At the same time, Tori inserts his right leg behind Uke`s left and twists to the left to throw Uke over his right leg. Tori then kneels on Uke to restrain him. Kokuraku Tori is in shizen no kamae, Uke approaches from the front in hoko no kamae as if to strike the shoulders. Tori strikes with both hands to ganmen, grabs Uke`s sides and drops between Uke`s legs to throw him over Tori`s head. Tori then rolls out to his right, capturing Uke`s left leg and coming on to his left knee to apply a leg choke. Ryusei Tori is in shizen no kamae, Uke is in a left ichimonji. Uke strikes with a left zenpo geri, and Tori responds by stepping to the left and turning his back to the kick so he catches the right foot in his left hand. Tori then uses his right elbow to apply pressure to Uke`s right upper thigh and push him to the ground. As Uke rolls out backwards, Tori stands on Uke`s hand and kneels on his arm to restrain. Roto Tori does a right lapel grab to Uke`s left mune. As Uke attempts omote gyaku, Tori moves to the right twisting with the lock and bringing his right leg in front of Uke`s left. Continuing his hand motion, Tori throws Uke over his right leg. As Uke falls, Tori takes Uke`s right fingers in his right hand and his left fingers in his left hand as he moves round behind Uke to apply pressure with his right knee between the shoulder blades. Uzumaki Tori stands in shizen no kamae as Uke attempts a right hip throw. Tori drops his weight and steps with his right leg over Uke`s right, going with the flow of the throw. Tori grabs Uke`s left mune and right outside shoulder, and puts his right shin in Uke`s kinteki whilst rolling, throwing Uke onto his back. When on the floor, Tori kicks to Uke`s right butsumetsu with his right foot and takes his right arm to kneel up onto Uke`s back and apply o gyaku. Hitcho Tori stands in shizen no kamae, Uke is in a left ichimonji no kamae. Uke punches with a right jodan tsuki and Tori counters by kicking up to Uke`s throat with his right toes, then kicking down to Uke`s right thigh with the right heel to knock Uke down. Tatsumaki Tori is held in an overarm bear hug from behind as another attacker faces him.

As Uke(1) strikes down with a right stabbing motion to Tori`s head, Tori drops to his left knee and lifts his arms up to drop out of the grab and allow Uke(1) to strike Uke(2). From his kneeling position, Tori strikes Uke(1) with a right bosshiken to his right kidney. Tori then stands and takes Uke(1)`s right arm by the wrist and shoulder, and turns to throw him on to Uke(2). Tori finishes with his left knee on Uke(2)`s left leg and bars Uke(1)`s right arm over Uke(2)`s left leg. Muto Tori stands in shizen no kamae, Uke is in left ichimonji no kamae. Uke strikes right jodan tsuki and Tori shifts out to the right, catching Uke`s arm between his chin and left shoulder. Tori then steps in with his right foot and turns slightly left to throw Uke. Tori then restrains by kneeling on Uke`s leg with his right knee. Haro Tori stands in shizen no kamae faced by two attackers. Uke(1) (to Tori`s right) attacks with a right jodan tsuki, Tori moves to the left and catches the hand in his right hand. As Uke(2) attacks from Tori`s left with a right jodan tsuki, Tori moves left bringing Uke(1)`s arm under Uke(2)`s which Tori uses to take Uke(2) off balance. Tori then throws Uke(1) on top of Uke(2) and restrains by pushing Uke(1)`s arm up his back, trapping Uke(2)`s arm. Happo Tori and Uke are in shizen no kamae. Uke attacks right zenpo geri, and Tori steps to the left to avoid the kick while sliding his right leg in front of Uke`s left. Tori then stands, breaking Uke`s balance with the knee and throwing him. Tori then kneels with his left leg on Uke`s left leg to restrain. Shuto Tori stands with sword in tenchi no kamae, Uke is in shizen no kamae. Tori strikes menuchi to Uke`s head and Uke responds by stepping to the left and attempting a right ura shuto to Tori`s uko. Tori avoids by shifting his weight to the left, Uke then strikes with a left ura shuto to Tori`s uko. Tori avoids by shifting his weight to the right as he brings the sword level across Uke`s stomach. Tori applies pressure with his right knee to the inside of Uke`s left knee to take him down, and then kneels to trap Uke`s left leg while putting the sword to Uke`s throat. Muto Dori Tori is walking as four swordsmen approach from behind. As Tori turn to face them, Uke(1) strikes with tsuki. Tori turns to his right to avoid the thrust and traps the sword with his right arm while striking right ura shuto to uko. Tori then turns the blade between Uke`s legs and pushes him away. Uke(2) attacks keisa giri (right to left) and Tori steps in with the right foot, trapping the sword with his left arm. Tori bars Uke(2)`s right arm with his left and steps to the front of Uke(2)`s right leg with his left. Tori then turns to the right to throw Uke(2). Uke(3) then strikes with menuchi. Tori responds by stepping out to the left and striking uko with a left ura shuto. Tori then takes Uke(3)`s hands in his own, (still holding the sword) and turns the blade to Uke(3)`s throat. Tori then takes Uke(3)`s balance with left knee pressure on Uke(3)`s right knee and uses his left hand on the back of the blade to twist Uke(3) down and cut his throat. Uke(4) also attacks menuchi and Tori steps forward with his right foot and catches the handle with both hands from beneath. Tori then takes the balance with left knee pressure on Uke(4)`s right knee and takes the end of the sword handle between Uke(4)`s hands, turning the blade onto Uke(4)`s throat. Tori then turns Uke(4) so that he is bent backwards over Tori`s right knee from Uke(4)`s right side. Tori then cuts as he drops Uke(4).

KENJUTSU

GIKAN RYU KOPPOJUTSU When drawing the sword, click out the blade from the Saya. Do this with the thumb or the forefinger. Make sure that the thumb if it is used is not directly over the edge of the blade. Otherwise there is a chance that the thumb will be cut. Pull the Saya out a little, then as you draw, pull it right back out of the way. This will make

drawing the sword faster. At the same time step back with the left leg. One method of drawing the blade is to hold the Habaki between the thumb and the index finger (the Tsuba is between the index and middle fingers). One reason for this is enable you to be able to draw the blade if an accident is made while drawing, or when you go to draw the sword, for some reason it is already partially out of the Saya. If the sword is to be drawn form a Tenchi Kiri style cut, aim for the Uke’s Tsuba with the Kashira as if you were going to poke at the Tsuba. Then flip out the blade cutting down, which also aims at the Tsuba. This will enable you to cut his Kote, and provides a excellent target for when you draw. In a close situation, when you draw, you can strike the Uke’s hand with the Kashira prior to drawing the sword. This can help create distance, and can also damage his hand, stopping or slowing down the drawing of his sword. When the blade is out, make sure that the right knee is bent. Then you may drop back into a Kamae. Having the right knee bent is the same position as when you cut normally. It also allows you to be able to move freely in any direction. Or back into a Kamae. Moving straight back into a kamae only gives you the more. option of being in a kamae, nothing. Cutting from Daijodan no kamae: When you cut down do so by dropping the blade straight down with a cut. However. It is important to lift the wrists a little, which in turn also lifts the Kashira. Then step forwards cutting down. When to have cut down do not finish at this point, continue the feeling (and maybe also the movement) of thrusting forwards with the Katana with a Tsuki. When you cut, you must aim to cut through the entire body. If you just clip him he may still fight (an injured animal is a dangerous animal). Cut with precise angle with the sword, because the sword may deflect once inside the body, and jar, making it almost if not impossible to with draw the blade. Noto (returning the sword to the Saya): Hold the mouth of the Saya in the left hand. The sword is in the centre of the body. Step forwards with the left foot. This brings the mouth of the Saya to the sword. Then as you pull the blade through the fingers step back with the left foot, this helps with the movement of the sword passing between the fingers. To return the sword to the Saya, grip the mouth of the Saya in the left hand. The middle finger comes across the bottom of the Saya’s mouth, and the index finger sticks up pointing out from the Saya. Run the back of the sword along the piece of skin between the thumb and index finger, and also between the index and middle finger. Running it between these two fingers enable you to remove any blood and guts that may still remain on the sword once Chiburi has been performed. Once the sword is clear slide it into the Saya.

GYOKKO RYU Sanshin No Kata These Kata are to be practice from a variety of starting postitions. 1. Practice each one from different Kamae. 2. With the Katana sheathed in it's Saya, draw the Katana, and do the Sanshin no Kata using the following draws.. a) Shomen Giri (Vertical cut from the draw) b) Kesa Giri (Diagonal cut down (Left - Right) from the draw) c) Yoko Giri (Horizontal cut from the draw) d) Gyaku Kesa Giri (Diagonal cut up (left - Right) from the draw) Chi No Kata Bend the right knee a little forwards so that it is directly over the right foot, at the same time do a Chudan Tsuki with the Katana, by pushing the arms out so that the arms are straight. Sui No Kata With a slight right step forwards, with the left foot following a little, raise the Katana up and to the right, then cut down with a right - left Kesa Giri. Ka No Kata

With a slight right step forwards, with the left foot following a little, raise the Katana up and to the left, then cut down with a left - right Kesa Giri. Fu No Kata With a slight right step forwards with the left foot following a little, drop the Katana down to the left, the cut up with a left - right Gyaku Kesa Giri. Ku No Kata Drop the Katana then while stepping forwards a little with the right foot, cut up vertical with the Katana (turn it so the cutting edge it up). Step forwards with the right foot again, and cut down with Shomen Giri (bend the knees).

KOTO RYU KOPPOJUTSU KENJUTSU KAMAE Ichi No Kamae The body posture is the same as Gyokko Ryu Ichimonji no kamae. The sword is held level, pointing at Ukes heart. Seigan No Kamae (Correct eye posture) The right foot is forwards, with the Kashira being held almost at the top of the thigh. The Kissaki points to the eyes. Hasso No Kamae (Eight apparitions posture) Left foot forward, heel close together, with the left side facing forwards. The sword is held vertical on the right side, with the left hand by the chest. Daijodan No Kamae (Big upper level posture) Left foot forwards, the sword his held above the head at a 60§ angle. The Kashira is above the forehead of the head. Jizuri Gedan No Kamae (Tosui no kamae) Left foot forwards, with the left shoulder pushed forwards, with the body leaning forwards. The sword runs along the line of the left calf. Note In Jizuri Gedan no kamae with the left shoulder being forwards, you are vulnerable to attack. The basic defence is to lift the

KUKISHINDEN RYU HIKENJUTSU (secret sword) KOTSU 1.The tip of the blade is focused on Uke. All movements pivot about the tip. 2. When in Kamae, give an opening for Uke, i.e. by moving the tip of the sword across or down. This is done by moving the whole body. Thereby keeping the kamae, and focus of Uke. Compensate by using knees, focus on Uke. This gives more balance. Again don't move the tip. Also gives full body (hip), the body is turned / twisted. This controls the direction, and point of attack. If Uke doesn't attack, return to Kamae. As Uke attacks the opening Tori should be in a position to attack or counter immediately, with no extra movements of the tip (this gives more time). 3. When you Tsuki (drop weight), keep the tip along the same line (shortest route). Compensate raised arms. Don't let the tip wobble, or move off line. 4. After avoiding, step in so to have foot, and sword tip in line for Tsuki.

5. When drawing the sword, take the Kissaki as far as Uke. Any further and you are vulnerable (Miai) MIAI (Distancing) Uke and Tori face each other with their swords held out straight in front of them. The Kisaaki touch or just cross. This is the correct disatnce. Then step back to Kamae, not forwards. You are now ready. KAMAE Jodan No Kamae (Upper level posture) The left foot is forwards with the sword held 60 degrees above the head. Note The defense for this is to cut down to the hands, by stepping to left or right, by first using Yoko Aruki. Seigan No Kamae (Correct eye posture) The right foot is forwards. The Kashira is placed almost at the top of the thigh. The tip of the blade points at Ukes eyes. Chudan No Kamae (MIddle level posture) The right foot is forwards, with the sword held almost horizontal (slightly upwards). Hasso No Kamae (Eight apparitions posture) The feet almost touch, and Tori is standing upright with the sword held at the side. The elbows are by the body, and the left hand is at chest height. The Tsuba is positioned slightly between the shoulder and the ear) Gedan No Kamae (Low level posture) The right foot is forwards, the tip of the blade points at the ground. Tori leans forwards a little. Both wrists are below the belt. Tenchi No Kamae (Heaven and Earth posture) The right foot is forwards. The sword is held out in front of the body, with the hands at chest height If you are using a Shoto, or Chisakatana, use Ichi no kamae, instead of Seigan. This will compensate for the distance. KIHON Basics 1.Tenchi no kamae, Daijodan no kamae. Uke cuts with a Jodan Kiri. Tori and Uke clash in the middle, with the left foot forwards. As Uke pushes with his sword, Tori turns his over to the left to cut Ukes right side of his neck. 2.Tenchi no kamae, Daijodan no kamae. Uke cuts with a Jodan Kiri. Tori and Uke clash in the middle, with the right foot forwards. As Uke pushes, turn the body on the right side around to the left. The sword should come to Ukes neck 3.Tenchi no kamae, Daijodan no kamae. Uke cuts with a Jodan Kiri. Tori and Uke clash in the middle, with the right foot forwards. Tori archs his back so that Tori's wrists are below Ukes. Tori turns to the right, and drops to the left knee, and at the same time releases the right hand on the sword. Tori comes up under Ukes arms, and cuts as he goes past Uke. 4.Tenchi no kamae, Daijodan no kamae. Uke cuts with a Jodan Kiri. Tori and Uke clash in the middle, with the right foot forwards. Tori does a slight keri to Gorin/Suigetsu. Tori then drops his sword to Tsuki to Uko. 5.Tori is in Gedan no Kamae, Uke is in Daijodan no kamae. Uke cuts with Jodan Kiri. Tori moves either left or right. The sword is lifted up and dropped odwn on top of Ukes Kote to cut. 6.Tori is in Tenchi no kamae, Uke is in Daijodan no kamae, and cuts with Jodan Kiri. Tori steps left forwards 45°. Tori drops the Kissaki down so that is points at Ukes adams Apple/throat. Right/left step and Tsuki Komi. 7.Tori is in Tenchi no kamae, Uke is in Daijodan no kamae, and cuts with Jodan Kiri. Tori steps right or left forwards,knocking (parry). Turn the sword as you parry so the edge faces Uke. Ukes sword slightly to the side. If on the left cut to the right side. (Visa Versa).

WAZA Tsuki Komi Uke is in Daijodan, and cuts with Jodan Kiri. Tori is in Seigan, and as the cut comes in either, drops to the left knee, and stabs Uke in the throat, or he steps to the side, and stabs Uke in throat. Use a Kiai, as you stab. Henka Yoko Aruki to the left, and cut the right wrist as you Tsuki. Henka Yoko Aruki to the right, and cut the left wrist as you Tsuki Note When doing the Tsuki forwards, follow the curve of the blade. It is possible if you just go to the knee, and stab, that Uke will fall on you. Therefore, stab to the top of the rib cage, into the neck. This will knock him back. Depends on the length of your sword. Move the tip of your sword to the left to make him attack Sayu Gyaku (Tsuki Komi no Sayu Gyaku) Uke is in Daijodan, Tori is in Seigan. Uke cuts with Jodan Kiri. Tori steps to either left or right, and parries the cut. Tori then cuts to the shoulder with Kesa kiri. Note If you step to the right first, then step to the left for the neck cut, and visa versa. Henka From Ichi no kamae, step to the left, and block. Yoko Aruki to the left, and cut to the back of the neck. Henka Step back to the right to avoid the cut, and cut to the neck. Tsuki Kake Uke is in Daijodan, and cuts with Jodan Kiri. Tori is in Seigan. As the cut comes down, Tori fakes a Tsuki, to slow / halt Ukes cut. Tori steps back, and out with the left foot, then Yoko Aruki with the right to the left cutting Uke as he passes by. Kiri Age (Cut up) Uke is in Daijodan, and cuts with Jodan Kiri. Tori is in Hasso. Tori cuts up from the R-L, cutting to the insides of the sleeves, and continues the cut to releases Uke hand from the Tsuka. Tori then cuts across L-R with a Do Kiri Henka Uke cuts faster than you can move. Cut up to Kote, and Tsuki to the Do. Henka Uke cuts faster than you can move. Cut up under right wrist, and then immediately the left wrist. Note The cut should start just under the ribs, and continue through the shoulder. Always keep your sword between you, and Uke. Kiri Age No Sayu Gyaku Uke is in Daijodan, and cuts with Jodan Kiri. Tori is in Hasso no kamae (or Tenchi). Tori steps across to the right, and cuts with Gyaku Kesa Kiri to his Kote, or parry the blade. Tori then switch steps, and cuts from left to right to Daimon. Daimon - Shoulder joint. Henka Uke cuts faster than you move. Cut up to Kote, and Tsuki. Henka Step back with the left as he cuts. Bring the sword parallel to his. Jodan Kiri, and then Kesa Giri Kiri Sage Uke is in Daijodan, and cuts with Yokomen Kiri. Tori is in Tenchi no kamae. Tori meets Uke in a clash of swords (right foot forwards). Tori pushes Ukes sword away, and up from him, so that Tori's arms are stretched. Tori moves the sword, so that the tip starts to point towards Ukes face / neck. Tori shifts the feet to the right, so that the sword blade comes to the neck, and cuts Uke. Henka Move to the left, and use the left elbow to check his right arm. Then cut to the back of his neck. Henka He is strong. As he presses down on you, use Moguri, and cut with Do Kiri. Use the full body together for this cut. Note Good for cutting under the Shinkoro of the Kabuto. Stand your ground, if you step he will have the

advantage. If he doesn't press the attack, you will have the advantage. The arms should form the shape of a roof top. It should also feel like he will fall forwards if you let go. Kiri Sage Sayu Gyaku Uke cuts with Jodan Kiri. Tori is in Hasso, or Tenchi no kamae and steps out to the right to avoid the cut. Tori then with the swords Tsuba strikes Uke on his wrist. With the Tsuba, under the wrist, Tori lifts his sword, and Ukes wrist, does a shuffle step forward, and kick Uke in the Hara, and a Tsuki, to the throat, and he staggers back. Henka When the swords clash, move to the left, and use the elbows to check his right arm. Right kick to Kote, then step back with the left leg, and Tsuki to the Hara. Henka From the clash of sword, Tori does a right kick to the Hara (shuffle step), and stamps down on the right knee, followed by a Tsuki to Hara. Kinshi Uke is in Daijodan, Tori is in Gedan in Ashi Dome (sword Kissaki points at Ukes foot). Tori and Uke circle to their left. Uke cuts with Jodan Kiri, Tori steps back to Seigan, Uke moves to Chudan to alter the distance. Tori steps with the left foot behind the right (Yoko Aruki), and then jumps (push with the left foot), cutting down on Ukes Kote. Henka Start from Issoku Ikken. Jump in without the Yoko Aruki, and cut down on top of the Kote. Note Give Uke the impression that you will stab his foot from the Gedan Issoku Ikken :- Close the distance so that one move step can deliver the final blow. Koncho Gaeshi Tori is in Daijodan, Uke is in Seigan. Tori tries to get Uke to cut him. When he does Tori jumps to the right side, and cuts the tops of the wrists. Henka Jump in further, and cut with Kesa Giri through Uko. Henka Uke attacks with a Tsuki as you move. Tori jumps in immediately, and cuts down on the left Kote. Note When trying to get Uke to cut, Tori uses light footwork, and the rear foot moves forward, the front foot alters to keep balance, distance etc, for a good jump. Jump off the left foot. Koncho Gaeshi Sayu Gyaku Uke is in Daijodan, Tori is in Seigan. Tori tries to get Uke to cut down at him. As he cuts at Tori, Tori cuts to the kote then Tsuki to the stomach. Shi Ho Kiri Tori is in Hasso no kamae. Tori steps forward with the right foot, and a right Gyaku Kesa Kiri, then switch stepping, Tori does a left Gyaku Kesa Kiri. Shi Ho Sayu Gyaku Tori is in Hasso no kamae. Tori steps forward with the right foot, and does a right Gyaku Kesa Kiri, then switch stepping he does a left Gyaku Kesa Kiri. With a right step forward Tori does a Chudan Tsuki, and then steps forward with the left foot, and a Jodan kiri. Happo Kiri Tori is in Hasso no kamae, and steps forward with the right foot, and a right Kesa Kiri, switch steps, and a left Kesa Kiri. Tori does this a total of four times. Happo Kiri Sayu Gyaku Tori is in Hasso no kamae. Steps forward with the right foot, and a right Kesa Kiri, switch steps, and a left Kesa Kiri. Tori then goes to Daijodan, and with a right step forward does Jodan Kiri. Tsuki No Wa Uke is in Daijodan, and cuts with Jodan Kiri. Tori is in Seigan no kamae. As the cut comes down, he shifts to the right, and does a Tsuki to Murasame. Tsuki No Wa Sayu Gyaku

Uke is in Daijodan, and cuts with Jodan Kiri. Tori is in Seigan. As the cut comes, Tori steps to the right, and does a chudan Tsuki to Butsumetsu, pushing the blade completely through Uke.

SHINDENFUDO RYU DAKENTAIJUTSU BIKEN The Shinden Fudô Ryu sword is slightly larger than the Kukishinden Ryu 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 Fudô Ryu, 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'." "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." "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." "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." Iaijutsu There are three Iai draws in Shinden Fudô Ryu: 1.Normal Iai draw 2.Tachi otoshi - Sword tight to body, draw straight up 3.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 Fudô Ryu'." KAMAE Seigan No Kamae (Taking the Eyes Posture) 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. "When doing Seigan No Kamae with a Shinden Fudô Ryu sword, please keep your elbow in tight against your body. This will help keep you from tiring out from its weight." Daijôdan No Kamae (Upper Level Posture ) In kamae such as Daijôdan, 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).

Engetsu No Kamae (Crescent Moon Posture) 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). Wangetsu No Kamae (Crescent Posture) Similar to Tenchi No Kamae, but the blade of the sword faces to the right. Ryusei No Kamae (Falling Star/Meteor Posture) 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. "In Ryusei, 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 Ryusei. 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."

TOGAKURE RYU KOTSU Characteristics of the Shinobi Gatana are that it is very plain and slightly blackish, maybe due to lack of maintenance. The blade ranged from 1 shaku, 4 sun (16.7 inches) - 1 shaku 8 sun (21.5 inch). This enabled the user to fight in confined spaces, this is why the length was kept small. Apart from the short Shinobi Gatana, the long Daito is also used. The Sageo is up to 12 feet (4m) long, and was used in Shinobinawa (Ninja rope) The Saya is also longer than the length of the blade, so that Metsubushi can be hidden inside easily. The kojiri end of the saya is removable, for use in Suiton, as a snorkel (Shinodake). Use the scabbard as a weapon , or spray metsubushi from it by holding the sageo and swinging the scabbard around. Hold the sword lightly so that you can move it quickly and easily with the feeling of “throwing” it. Focus your grip on impact and then hold the sword lightly again. 1.The short length of the blade can make a difference with drawing the sword at speed. 2.The short sword means that the kamae must have the short sword thrust out, such as in Ichi no kamae. 3.The Saya has a longer Sageo. 4.In Tosui no kamae, the left shoulder being forwards means that you are vulnerable. Taito - Wearing A Sword 1.With a Dai-Katana, hold it vertical, with the Kojiri on the ground, in the right hand. 2.Wear the Katana in the Obi on the right side. 3.Wear the Katana in the Obi on the left side. 4.Wear the Katana across the back on the left side. 5.Wear the Katana across the back on the right side. 6.Wear a Dai-katana, strapped across the back Shinobi Iai Happo Sabaki Gata The sword drawing techniques require free movement of the feet. This is the eight ways of footwork for drawing the sword. Start each in Shizen Tai 1.Yoko aruki across to the right (left over right) 2.Yoko aruki across to the left (right over left) 3.Move left foot diagonally back to the left 4.Move right foot diagonally back to the right 5.Move forwards with right foot 6.Move back with left foot 7.Move diagonally forwards to right

8.Move diagonally forwards to left Koi Kuchi Kiri - Break The Carp’s Mouth (Unlocking the sword) 1.When the Katana is to be drawn, the left hand grips the Saya lightly near the mouth of the Saya (Koi Kuchi). The index finger presses against the Tsuba and pushes the Katana out of the Saya. 1.A variation of this is to use the thumb instead of the index finger. 1.A way of hiding the fact that you will draw your Katana is to clamp it close to the body with the left arm. Normally, the left hand grabs the Saya to stop it being pulled from the Obi when the Katana is drawn. Clamping it in this way will hide your actions. 1.A variation of this is to turn the body to the left and grab the Saya with the left hand (the turn hides the grab), and when you turn back to face Uke, you draw the Katana in the turn. 1.Another method of drawing the sword is one handed. This is to take hold of the Tsuka with the left hand (reverse grip), and pull it out of the Saya. When the blade is out it runs the length of the forearm and can be almost hidden from view. It can also be used to help aid a block. Lift the hand so that it is head height and that the sword finishes level. To draw a longer sword with the left hand, take hold of the tsuka and turn both the sword and saya so that the blade’s cutting-edge is facing downwards. Push the tsuka backwards towards your obi as far as it will go and then draw the sword forwards and upwards. Kage no Itto (Single sword shadow) This reverse draw starts on the left side and is moved to the right across the back. A great deal of flexibility is required in the wrists for the sword to be turned, and lifted in a single movement, and then drawn over the right shoulder with the right hand. This technique is best transmitted Orally. This is also known as 'Ninja Shinden Iai-giri'. It is used when there is an obstacle or person in the way. Itto Nage (Single sword throw) Tori is in Shizen Tai with the Katana in the Obi. Tori draws the Katana horizontally, and then brings it straight back (still horizontal) to rest on the upper left arm with the sword tip to the rear (right foot is still forwards). The left arm hangs limply straight down, between the legs. When nothing else can be done, and you have to throw your sword, throw it this way, just like throwing shuriken. Katate Gyaku Nuki – Single Handed Reverse Draw Using the 8 methods of the Shinobi Iai, also practise the following method: 1.Uke is in Daijodan and does a Jodan Kiri. Tori, in Batto no kamae, steps back to the right as your left hand draws your blade in Gyaku Nuki, blocking his cut. Metsubushi to his eyes as you kick Sokuyaku ken to his left Sai. Kesa Giri right to left. Iai Mai - Sword Distancing Generally, when one draws the Katana, you step forwards with the right foot as you draw. This brings you closer to your opponent. When faced with this situation, to step forwards would be dangerous, as you would both be extremely close to one another. In this case, the Ninja steps back with the left foot as he draws to open the distance between the two. As the Ninja generally carries a Katana (Shinobi Gatana) that is slightly shorter than the Katana of the Samurai, the Ninja's blade should draw quicker. If the Ninja were to use a Tenchi Kiri, his Katana should cut down on top of the samurai's wrists before he has time to completely draw his Katana. Iai Mai Henka- Sword Distancing Variation This time, the Ninja does a Shinobi Yoko Aruki to the left cutting down to the Kote. The tip of the Katana is then passed between the attackers forearms (over the right, under the left), and steps a little around to the right. The Ninja takes hold of the Samurai's sword handle and lifts the tip of the sword up and over to the left, turning his attacker over onto his right side. The Ninja then controls him with both swords. NOTE: For training in Biken, it is desirable to master Taijutsu. This is because Kenjutsu Begins with Taijutsu and ends with Taijutsu. Methods of using the Sageo 1.Scabbard balanced on the boshi of the sword (cutting edge upwards), held by the sageo in the mouth at arms length to probe at ground level for enemies in the darkness. If an enemy is encountered. Let go of the sageo, pull the sword back slightly and tsuki forward. 2.Sageo used to tie the ninja to a tree so he can sleep (up in the branches). 3.Use the scabbard as a weapon, or spray metsubushi from it by holding the sageo and swinging the scabbard around. 4.Use the scabbard as a step-up against an object (i.e. a wall) and then use the sageo to pull the scabbard

up after you. 5.Use the sageo to tie up an enemy – hojojutsu. Cutting from Daijodan Feel the balance of the sword above the head, the tsuka kashira points at Uke’s feet. Use the spine to arch backwards, this causes the natural weight of the sword going backwards to raise the tsuka kashira so that it points at Uke’s face. Then, pull down with the left hand and punch forwards with the right hand to thrust the sword forward with a cut. Walk as you thrust/cut - this is called Tsuki Tobasu. Iai Drop the weight and push the scabbard mouth back to the left hip as you either step back with the left leg or forward with the right leg. The tsuka kashira points downwards slightly. Cut with a thrusting motion (tsuki forward with the tsuka kashira), not by drawing the sword up and chopping down. The scabbard mouth is held (and pushed back) between the forefinger and thumb of the left hand. Draw and cut using tsuki tobasu. You must hold the sword lightly when you draw the sword. Prior to drawing the sword, the tsuka kashira must point at Uke. When Uke is doing a draw and Tori wants to counter by also drawing, aim at Uke’s tsuba - this will mean that your blade will contact with his kote. To counter a draw with a draw, step to the left and slightly forward with your left foot. Your left heel touches the floor first and the foot rolls flat along the outside ridge from heel to toe. As the left foot “rolls”, turn the foot so that the toes face in Uke’s direction (this will turn your hips and aim your tsuka kashira at Uke). If your drawing hand is slippy, cut or maimed you won’t be able to grip the handle properly - in this case, use your right thumb and forefinger behind (blade side) the tsuba to draw the sword. The tsuba is gripped between the forefinger and middle finger. Use the thumb to push the tsuba (to the side of the blade) slightly to release the blade from the scabbard. Don’t do this too much or Uke will see that your sword is ready to draw. As the sword extends, drop your weight by bending the knees to supply the downward component of the cut. One way of drawing is to push the scabbarded sword out to the front so it extends forwards and the right hand takes hold of the sword handle, then pull the scabbard back to draw the blade. When advancing towards Uke (you are wearing Daisho), vary the rhythm, pace and length of your stride so that the moment of your attack is unpredictable. When wearing Daisho and you are retreating from Uke (keep facing Uke as you “back-peddle”), you must keep the tsuka kashira of one of your swords pointing at Uke at all times. The swords remain in their scabbards and you can point with one, then the other as you retreat with an unpredictable rhythm. Pointing the tsuka kashira means that one of your swords will always be “on target” if you suddenly need to draw. This same idea also works when advancing rather than retreating. The most important thing in Iaijutsu is drawing the sword, freeing the blade so it can be used. Everything else is secondary. When walking with the scabbarded sword in your obi you wouldn’t ordinarily be holding the sword with either hand. Consider this when doing techniques. You can draw the sword using standard grip, reverse grip, cutting downwards, upwards, sideways etc. using the principles above. Resheathing the sword While you are resheathing the sword, keep either the point or the edge of the blade facing Uke, eg. blade held horizontally in front of your body. The blade is drawn between the forefinger and middle finger(“V” position) and the thumb also guides along the same side of the blade as the middle finger. From Seigan, move into Daijodan as follows: Step forwards with the left leg (or backwards with the right leg) and at the same time push the tsuka kashira upwards with the left hand so that the sword is raised into the position for Daijodan. As your hand pushes upwards your weight sinks downwards by bending your knees. When cutting, if you walk, this will free your spine and the cut will be more natural. If you don’t walk the cut won’t be natural. Apply this idea to other weapons and taijutsu. Kesa Giri (cut down from shoulder to opposite hip) - use the spine (turning side-on) to apply this cut, don’t let the sword tip travel too far downward once it has passed the level of Uke’s hips. Gyaku Kesa Giri (cut up from hip to opposite shoulder)- Again, use the spine (turning side-on and arching back) to apply the cut. Don’t let the sword tip travel too far upwards once it has passed the level of Uke’s shoulders. When doing a draw and the follow-up one-handed tsuki tobasu, the sword handle lies along the inside of the

right forearm for stability. As the left leg steps forward, bring the sword down to the rear and grip two-handed, as the right foot steps forward the sword is raised and a jodan giri is applied all in one smooth motion. Continue with a tsuki tobasu after this cut also. When you cut, you usually push away from you rather than pull towards you. The bokken used in matches is a weapon in itself and is called a shiai bokuto. To break Uke’s sword by striking it with yours, you need to hit either the middle of Uke’s blade or further up near to his tsuba. WAZA Sword held in the belt in an upright position. Uke and Tori walk towards each other so they will pass with their right sides together. When within range, Uke begins a Do-giri draw. Tori draws his sword straight up as he bends his knees and sinks his weight down. Tori turns and bring his sword down (held vertical with the tip at the top), projecting his intention at Uke through the tsuba rather than the boshi. Tori’s blade stops Uke’s draw by cutting Uke’s kote from this position. Uke is in Daijodan, Tori is in seigan. Tori gives an opening by moving the point of his sword to the (his) left, Uke then cuts down with jodan giri. Tori steps forward to Uke’s outside with his left leg. As he does this, Tori turns the fingers of his right hand upward so that this hand is now holding the sword in a reverse grip. The palm of the left hand pushes the tsuka kashira down so that the blade cuts upwards into the back of Uke’s right knee. Uke is in Seigan, Tori is in Hasso (hidari). Uke does a tsuki. Tori does a small jump to the inside of Uke’s tsuki so that he (Tori) changes legs and his legs are lined up parallel to the line of Uke’s tsuki. As Tori lands from this jump he uses his weight dropping to knock Uke’s sword down and to Uke’s right rear. As the weight is dropped, Tori’s knees are well bent and Tori uses this to launch into another jump - the direction of the leap is in almost the opposite direction to Uke’s tsuki. The leap is used to power a horizontal cut across Uke’s throat. Alternatively, the cut could be at the other side of Uke’s neck (like omote shuto). Note: Instead of the first jump, you could simply change legs with small steps. Uke and Tori walk towards each other so that they will pass with their right sides together. Tori’s sword is in its scabbard, held vertically in the obi. As Tori passes Uke, Tori draws his sword straight up and cuts backwards and down to cut the back of Uke’s right knee (Tori keeps facing in the direction he was walking while doing this cut). Tori turns clockwise to face Uke and continues the motion of the cut upwards until the sword boshi is pointing at Uke. Tori then pushes the point down into Uke’s right shichibatsu (preferably so that the blade travels down Uke’s right leg as well). Note: Tori draws his sword as Uke passes, not before, so that Uke cannot see the cut coming. Tori can also help to hide his draw by turning his body to his left as he takes hold of the sword handle. Uke is in Daijodan, Tori is in Tenchi no kamae with the sword held vertically (boshi uppermost) in front of the body, the right leg is to the front and the left leg to the rear. Uke attacks jodan giri. Tori shifts his weight forward onto his right leg and meets Uke’s sword with his own (use the part of the blade just above the tsuba) in a clash. Uke’s and Tori’s sword blades now form a “V” between them - Tori’s sword boshi is turned out to his right. To encourage Uke to push forward, Tori uses a two-push rhythm: Tori pushes (using his knees) against Uke’s sword then receives Uke’s reacting push with his knees. Tori then pushes again and as Uke pushes in response, Tori receives and steps forward left to the outside of Uke’s sword with his left foot (the right foot sweeps round in a clockwise direction so that Tori’s feet are parallel to the line of Uke’s push). As Tori moves, he uses his left elbow to push Uke’s right elbow to Uke’s left and Tori’s sword blade rotates down and clockwise so that it comes around onto the right side of Uke’s neck (Tori can let go of the sword handle with his left hand to do this). Tori’s left knee helps to take Uke’s balance by pressing into the outside of Uke’s right knee. There should be at least three points of contact at the end of this technique. (sword on neck, knee against knee and elbow against Uke’s arm). Uke is in Daijodan, Tori is in Tenchi no kamae with the sword held vertically (boshi uppermost) in front of the body, the right leg is to the front and the left leg to the rear. Uke attacks jodan giri. Tori shifts his weight forward onto his right leg and meets Uke’s sword with his own (use the part of the blade just above the tsuba) in a clash. Uke’s and Tori’s sword blades now form a “V” between them - Tori’s sword boshi is turned out to his right. To encourage Uke to push forward, Tori uses a two-push rhythm: Tori pushes (using his knees) against Uke’s sword then receives Uke’s reacting push with his knees. Tori then pushes again and as Uke pushes in response, Tori receives and does a small jump forward to the right so that his feet are lined up parallel to Uke’s push. Tori pulls the sword handle close into his body so that the end of the blade cuts the

left side of Uke’s neck. Uke is in Daijodan, Tori is in Tenchi no kamae with the sword held vertically (boshi uppermost) in front of the body, the right leg is to the front and the left leg to the rear. Uke attacks jodan giri. Tori shifts his weight forward onto his right leg and meets Uke’s sword with his own (use the part of the blade just above the tsuba) in a clash. Uke’s and Tori’s sword blades now form a “V” between them - Tori’s sword boshi is turned out to his right. To encourage Uke to push forward, Tori uses a two-push rhythm: Tori pushes (using his knees) against Uke’s sword then receives Uke’s reacting push with his knees. Tori then pushes again and as Uke pushes in response, Tori receives and bends his elbows to encourage Uke to push more and overcommit himself. Tori then arches his spine backwards and drops underneath Uke’s cut by lowering his left knee so that his sword boshi is to his left. Tori then moves forward right and cuts accross Uke’s belly from left to right. The above three techniques are basics. Once you can do these well, the next step is to do the same technique but without clashing swords. Tori must still move forward and project his intention as if he were to clash blades but then maintain a small distance between the swords and complete the technique. For the third technique (where Tori moves under Uke’s sword) it is important to really arch the back backwards and even tilt the head backwards as well. On all of these techniques, both basic and advanced versions, the timing is very important - you must move correctly in response to Uke’s reaction to your push (or intention). KAMAE Postures 1.ICHI NO KAMAE - No 1 posture Right foot forward. The sword is held in both hands horizontal, and is held straight out at shoulder height, pointing at Uke’s eyes. This posture is almost the same as the Gyokko Ryu Ichimonji no kamae. Weight is 60/40 to the rear. Adapting to changes as in Henka Kuden: Adapting to changes (Henka) 2.SEIGAN NO KAMAE - Correct eye posture Right foot forward. The sword Kissaki points at Ukes eyes. The hilt is near the top of the right thigh. Weight is 60/40 to the rear. With the intention of capturing and manipulating the opponents mind Kuden: With the intention of capturing and manipulating the opponents mind. A.K.A Seigan gan-tsubushi no kamae (straight eye, eye destroying posture) 3.CHUDAN NO KAMAE - Middle level posture Right foot forward. The sword is held horizontal at waist level. The arms are not straight out. The kissaki points at the heart. Weight is 60/40 to the rear. Have the feeling of drifting in space Kuden: The feeling of drifting in space. 4.GEDAN NO KAMAE - Low level posture Right foot forward. The body slightly leans forward. The hands are close to the navel, and the sword points to the ground 45 forward, next to Tori’s right foot. Keep the intention of stabbing at the opponent’s foot (Toki). Kuden: With the intention of stabbing and opponent’s foot (the vital point called Toki) 5. TOSUI NO KAMAE - Ridge water posture Left foot forward. The left shoulder points down to the ground, and the body leans forward more than Gedan. The sword points to the ground in front of your left toes. This is both difficult, and dangerous. Kuden: Munen Muso (thinking of nothing at all) and also the feeling of being on top of thin ice. NOTE: In Tosui the right shoulder being forward, you are vulnerable to attack. The basic defence is to lift the sword as you step right or left, to the outside of the attack. Use slight movements to the side, and cut as you walk past. Maintain Munen Muso, and also the feeling of being on thin ice. This Kamae is a specialist Kamae of the Togakure Ryu, but is also found in the Koto Ryu (Jizuri Gedan no kamae). 6.HASSO NO KAMAE - 8 ways posture (a.k.a. Daijodan no kamae) Left foot forward, and the feet almost touch each at the heels (the body is upright). The sword is held on the right side, with the hands at shoulder height. The sword is vertical next to the right ear. The cutting edge points to the right. Kuden: Filling oneself with the feeling which matches that of a flash of lightning. NOTE: The defence for this is to step to the right, and to the side of Uke. Cut to the neck as you would with Shuto. Fill oneself with the feeling which matches that of a flash of lightning.

7.KASUMI NO KAMAE - Haze posture Left foot forward, the knees are bent at 90 degrees. The sword is held above the head, with the hilt on the right side, and the sword tip on the left. The sword is horizontal, but angles 45o forwards. Use Kyojitsu seeing but pretending not to see. Kuden: Kyojitsu, seeing but pretending not to see. 8. TOTOKU HYOSHI NO KAMAE - Sword hiding catapult posture Useful for defending against projectile weapons, i.e. shuriken. Tori kneels on the left knee (toes up). The right knee faces Uke. The sword is held in the right hand, and is vertical with the cutting-edge facing to Tori’s left (left hand can hold the Saya). The body must be side on, with the shoulders, hips, knees and feet/ankles all lined up behind the sword. The sword is held in front of the face to protect it. If a shuriken goes low (to your feet), lower the sword so that the tsuka deflects the shuriken. If the shuriken goes wide, do not try and deflect it with your sword as if you move the sword from your centre line you will be exposing a target. Only move the sword a small amount to the left or right and make sure it stays vertical as you do so. An advanced way of suing this kamae is to twist your sword blade as the shuriken hits it, this will send the shuriken flying off at enemies to the side. Alternatively, if you ‘flick’ the blade forward as the shuriken hits, it will send the shuriken back at the enemy who threw it. Kuden: Adapting to an unseen enemy.

KAMAE NO WAZA - Techniques using the Kamae 1. ICHI NO KAMAE Uke is in Daijodan no Kamae, and does Jodan Kiri. Tori is in Ichi no kamae. Tori steps forward slightly with the left foot, the swords just contact. The left hand releases the Tsuka, and comes up under both of the Kote. Both of Tori's feet come closer to Uke. Tori's left hand grabs the back of the blade, so that the cutting edge cuts into Ukes Kote. Tori turns the blade flat, so that when the left hand pulls it cuts Ukes stomach. Tori then steps back from Uke. NOTE: If Uke is wearing chain mail, take both of his arms and pull the sword in to cut. 2. SEIGAN NO KAMAE Uke is in Daijodan no Kamae and does Jodan Kiri, Tori is in Seigan no kamae. Tori lifts the sword to Gyaku Kasumi no kamae (Tsuka on the left) to block the cut. Tori steps forward with the left foot, and turns to the right to face Uke. Tori releases his left hand from the Tsuka. The Tsuka is placed over both of Ukes Kote, with the blade almost vertical. The left hand comes under the Kote, and grabs the Tsuka. Tori turns the sword blade back, and cuts to the right side of Ukes neck as he steps back. 3. CHUDAN NO KAMAE Uke and Tori are in Chudan no kamae, Uke does a Chudan Tsuki. Tori steps forward to the left, and drops the kissaki down to the right, by lifting the Tsuka. The swords clash. Tori releases the left hand, and grabs Ukes right Nagare on top with the left hand. Tori lifts his right hand to bring the sword to Ukes right shoulder, and cuts to the right cutting the right side of the neck. KUDEN: Change the 'Chu' of Chudan for Chu or Uchu (universe), and Chudan becomes a posture of space. 4. GEDAN NO KAMAE Tori is in Gedan no kamae. Uke is in Daijodan no kamae, and does Jodan Kiri. Tori steps forward a little to the right, and lifts the blade to contact Ukes sword. Tori kicks up with the right foot to Uke left Kote and does a L - R Do Kiri and advances forwards to the right past Uke. KUDEN: To understand Gedan, you must understand that 'Enlightenment is at your feet' 5. TOSUI NO KAMAE Tori is in Tosui no Kamae, Uke is in Daijodan no kamae and does Jodan Kiri. Tori steps forward with the right foot almost like Shinobi Yoko Aruki, and lifts the sword on the left side of Ukes sword, moving it over completely to the right then down and back to the left (in a circle). With a short right stamp he cuts down on top of Ukes right shoulder or head. HENKA Disengaging slightly later, finish with horizontal cut to mid section right to left, with full body weight as you step left. HENKA Lift the sword with a right step forwards, or left step forwards to the outside of Ukes Jodan Kiri. With slight movements to the side cut as you walk.

6. HASSO NO KAMAE Tori is in Hasso no kamae. Uke is in Daijodan no kamae, and does a Jodan Kiri. Tori steps forward with the left foot, and drops the blade down on top of Ukes Kote (Tori's hands stay in original place), with the kissaki pointing at the face. Tori does a shuffle step forwards, and does a Tsuki to the face. NOTE: If it misses Tori pulls the sword back cutting down on the shoulder. HENKA As Uke curs with Jodan Kiri, right step forward, and cut down with Kesa Giri to the neck. 7. KASUMI NO KAMAE Tori is in kasumi no kamae, Uke is in Seigan no kamae, and does a Chudan Tsuki. Tori drops the sword , and sort of bats the sword to the left (the sword is almost vertical with the Tsuka at the bottom). At the same time the right foot steps forward to the right, and does a Katate Do Kiri under Ukes sword to the stomach. NOTE: When Tori moves forward, it's as if he is starting to run. 8. TOTOKU HYOSHI Tori is in Totoku Hiyoshi. Uke has Shuriken and one by one he throws the at Tori's face. Tori uses the sword to bat the Shuriken away. It is important that you knock away only the Shuriken that may hit you. It is a waste of time and you could be leaving yourself open if you deflect Shuriken that will not hit you. Uke may throw these Shuriken to tempt you to open your self up. When you become more advanced you can then move onto Kyujutsu, and Sojutsu. HAPPO BIKEN 1. HI RYU NO KEN - Flying dragon sword Tori begins in Ichi no Kamae. Tori circles the sword up and clockwise twice, stepping forward yoko aruki with his left foot as the sword comes to the front (passing through Gedan no Kamae) for the second time. Tori keeps circling the sword once more and steps forward with his right leg as the sword passes through Gedan no Kamae again. From this low sword position, Tori steps forward with his left leg and cuts up from left to right, gyaku kesa giri. This circling movement can be used against many attacks, i.e. tsuki, jodan-giri, do-giri etc. Application: Uke does a Tsuki or Jodan Kiri. Rotate the sword left then up to the right (clockwise). Repeat the movement. Continue the movement, and as the sword reaches you left hip, step forward with the right foot. Continue to rotate the sword. As the sword comes to the left hip, a right step forward. Gyaku Kesa Giri from left to right. NOTE: The swords clash, and Tori keeps them together as he rotates his sword. The change is Ihen no kamae. On the last rotation Tori cuts Ukes wrist. HENKA Uke is in Ichi no kamae, straight thrust to throat. Tori is also in Ichi no kamae, and does a block/deflect down and to right, push blade down and right moving into two revolutions, close distance during revolutions until close at completion of second, place blade diagonally across opponent's neck (his left side), cut as you withdraw. HENKA Uke is in Dai Jodan no kamae, cuts straight down. Tori is in Chudan no kamae, step left blocking blade to right, push blade down and right moving into one revolution as you step to right, at the end of the second down movement, fluidly bring blade across forearms cutting, then stepping to right past opponent cut diagonally up left to right. HENKA Uke is in Dai Jodan no kamae, cuts horizontally left to right. Tori is in Chudan no kamae, step left blocking down and to right then circle blade for one revolution (stepping back with left to avoid blades then forward with right on upstroke), just past peak of revolution bring blade in and up under armpits cutting, cross step left behind right turning left and moving in, drop to half-kneel on left knee and throw with blade, then finish. 2. KASUMI NO KEN - Mist sword Tori begins in Ichi/Chudan no Kamae. Tori steps forward with his left leg to cut do-giri from left to right. From here, Tori uses his wrists to rotate the sword 360 degrees clockwise. Tori steps back with his left leg (as in Ichi no Kamae) but brings the sword back to his left shoulder like hasso. Tori repeats the above movement once more. From the “migi hasso”, Tori extends his arms to Ichi no Kamae then steps forward (no do-giri), clockwise deflection and steps back to “migi hasso”. From here Tori steps back with his right leg and cuts kesa-giri from left to right (weight on back leg). The sword continues moving along the path of the kesa-giri and comes up into a henka of Kasumi no Kamae where the boshi is pointing at Uke. Tori then steps forward

with his right leg to do tsuki. Against an attacker, Tori’s do-giri is actually an intercept of Uke’s jodan-giri (or other attack). When Tori steps back with his right leg, it is to avoid Uke’s tsuki and the “kesa-giri” is to deflect the tsuki. Application: Chudan no kamae. Left step forward, and a short cut horizontal to the right. Rotate the sword clockwise (final part is a cut down). Left step back to a left Hasso. Left step forward with a L-R Do Giri (high) to Uko. Rotate the sword clockwise, and cut down. Left step back to left Hasso. Ichi no kamae. Rotate the sword again (left foot forward). Left step back to Left Hasso. Right step back, and left Kesa Kiri (one movement). Hold the sword horizontal on the right with the tip forwards, and the wrists crossed. Hold this by the ear with the edge up. Right step forward, and Tsuki turning the sword over as you do the Tsuki. NOTE: When rotating the swords Tori finishes each part by almost throwing Ukes sword to the side. The final part is to knock his sword down. HENKA Uke is in Dai Jodan no kamae, cuts straight down. Tori is in Chudan no kamae, step forward with left, block towards right, engaging blades circle clockwise once then snap down as you step with right, sweep blade to left by twisting body (feet as well), assume Chudan no kamae. Repeat twice. HENKA Uke is in Chudan no kamae, straight thrust to heart. Tori is in Chudan no kamae, shift left foot slightly forward then step 45 degrees back right as you circle blade anti-clockwise to beat down onto opponent's blade (with side) to disarm, step forward with right thrust to throat to finish. 3. MUSO KEN NO KAMAE (URA NAMI) - No thought sword Posture - Inside wave Tori is in Gedan no Kamae. Tori lowers his weight and shifts his weight forward over the right knee as he lifts the boshi of his sword to face height and thrusts towards Uke’s men. Tori then steps forward with his left leg, dropping to his right knee to cut from left to right with do-giri. Tori can step forward with the left leg when doing the thrust, which incidentally can be used to lift Uke’s kabuto with hane-age. Tori should then step forward with his right leg, dropping to his left knee to cut do-giri (one handed with the left hand supporting the spine of the blade). Application: Gedan no kamae. Drop the body weight and lift the hands until they are level with the face (similar to Daijodan). Left foot forward, drop to the right knee, and drop the sword over to the left side, and Do Giri from left to right NOTE: When Tori lifts the sword it comes up under the inside of Ukes wrists, under the helmet, cutting his face. When Tori drops to his knees he cuts across the waist. To help, place the left hand on the back of the sword blade. HENKA Uke is in Dai Jodan no kamae, weight shift forward, hesitate. Tori is in Gedan no kamae, weight shift forward. Uke begins to cut. Tori on the intention to cut, snap blade up between opponent's arms to in front of face then above forehead, step to right moving into half-kneel on left knee (right knee to side), bring blade across midsection, release left hand, place on back of blade and weight shift forward as you cut and move into a standing position. 4. DATO NO KEN - Striking and felling sword Tori is in Gedan no Kamae. Tori moves to his left, 90 degrees with his left leg as he raises his sword to block/intercept Uke’s jodan-giri (Tori’s sword is horizontal with the boshi to his right). Tori then steps directly forward with his left leg to cut from left to right with do-giri. Notes: Tori’s block/intercept should place his blade just underneath Uke’s tsuba, therefore controlling Uke’s sword. Tori can then take a short step forward with his right leg while he uses his right elbow to lift and control Uke’s left elbow. Finally, Tori turns his body to the right and slams his sword into Uke’s hara (onehanded) using his body and left forearm pushing the back of the blade. After the intercept, Tori can use his left elbow to lift and control Uke’s right elbow. Then, letting go of the tsuka with his left hand, uses the tsuka kashira to strike Uke’s right omote kimon. Finally Tori rotates the sword clockwise above his head to cut do-giri from left to right across Uke’s right side as Tori moves back with his right leg. Application: Gedan no kamae. Left step out, lifting the sword high to do a high block, and Kiai (hilt to left). Left foot forward, and cut horizontally to the neck from left to right and Kiai. NOTE: To lift the sword, Tori also steps forward with the left foot, and meets Ukes sword. Tori strikes Ukes wrists from underneath with the Tsuba. Keep the arms straight for the cut. If you are too close and need extra power, push the back of the blade with the left forearm (hand on Tsuba). HENKA Uke is in Daijodan no kamae, cuts straight down. Tori is in Gedan no kamae, step forward with left jamming opponent's hands with Tsuba (sword tip to right), step forward with right, pressure opponent's arms up with

elbows (mainly right), snap blade down into midsection, place left elbow/forearm to back of blade, left hand on Tsuba, weight shift forward and cut. HENKA After the block, shuffle forward placing left leg behind opponent's right, pressure right arm up using left elbow wedging under armpit, release left hand, strike to solar plexus with butt, circle blade around to cut midsection, cut left to right supporting blade with left hand as you step back. 5. ISSEN NO KEN - One flash sword Tori is in Chudan no Kamae. Tori shifts his weight forward onto the right leg and does tsuki, he then drops his boshi to his left. Tori then steps out to his left 90 degrees with his left leg and strikes down to the right, in a clockwise arc (onto Uke’s sword). Tori’s tsuki is blocked/deflected by Uke, Tori then moves in the direction that his sword has been knocked and uses the movement to knock Uke’s sword out of his hands. Tori can then finish Uke with any attack. Application: Chudan no kamae. right step forward, and Tsuki (short movement). Drop the Kissaki to the left, so that the tip points at the ground (the wrists are crossed). Left step forward, and out. Bring the sword to Daijodan, and Jodan Kiri. NOTE: If Uke is in Seigan no kamae, and does a Tsuki, Tori can connect with the sword, then knock it away. Possibly out of Ukes hands. The Daijodan comes as high as the shoulder - The drop over of the sword is to knock Ukes sword Can also Tsuki instead of Jodan Kiri. HENKA Uke is in Seigan no kamae. Tori is in Tosui no kamae, step forward with right deflecting opponent's blade to left, bring blade sharply counter clockwise to beat down on opponent's blade (with flat) disarming, weight shift forward to thrust to throat. HENKA Start in Seigan no kamae, shuffle forward with left then right as you deflect opponent's blade, circle clockwise and beat down on blade. NOTE: Your first Tsuki is a dummy because his sword is longer than yours and he will hit you before your Tsuki reaches him. If he blocks your sword do not hold your rigidly. But beware as his Kissaki will be pointing at you. 6. RAIKO NO KEN - Thunder light sword Tori is in Hasso no Kamae. Left leg moves back and cut kesa-giri from right to left. Left leg steps forward and cuts do-giri from left to right. Left leg steps back and cut jodan-giri. Left leg steps forward and cut kesa-giri from left to right. Switch step, cut kesa-giri from right to left. Left leg steps forward to cut gyaku kesa-giri. Use this series of cuts against a line of attackers - advancing forward with each cut. Do this from a posture/attitude of ‘shin-shin, shin-gan’ (god’s heart, god’s eyes), and from this will come the naturalness which is the true secret of Happo Biken (eight direction secret sword). Application: Hasso no kamae. Left step back, and Kesa Giri. Left step forward Do Giri. Daijodan with a left step back, Jodan Kiri (one movement). Left step forward, to a over the head Kesa Giri (L-R). Lift the sword up hilt to the right, tip to the left. Rotate the sword over the head, and Kesa Giri (right - left). Switch step and Gyaku Kesa Giri (left - right), and step forward as you cut. Hasso. NOTE: You start in an upright Hasso no Kamae, then the hips are kept low. Do not bob up and down as you perform the Kata. Each cut should be straight and true. HENKA Multiple attackers. Tori performs the above kata against multiple attackers. One per cut. KUDEN: This technique is for moving through a crowd. The cuts you make leave you open, so your next cut must go to this new open space, as that is were the next attack will come form. 7. ITTO NAGE – One sword throw Tori is in Shizentai with the Katana in the obi. Tori draws the katana horizontally and throws it with the right foot forwards. The left arm hangs limply straight down, between the legs. When nothing else can be done, and you have to throw your sword, throw it this way, just like throwing Shuriken. 8. ITTO GIRI - One sword cut Uke is in Daijodan, and cuts with Jodan Kiri. Tori is in Seigan. Tori shifts to the left, and drops to the left knee, and cuts from the right to the left with Do Kiri. HENKA Uke is in Daijodan, and does Jodan Kiri. Tori is in either Hasso, or Seigan. Tori steps forward to the left, and walks cut Uke with Do Kiri. As Tori passes Uke he turns to the right to face him, and cuts across the spine left - right.

HENKA (Sojutsu - Kenjutsu) Tori is in Seigan. Uke is in Ihen with a Yari. Uke does a Tsuki. Tori steps forward to the left and cuts to the top of Ukes hand on the left side, and pushes the katana forwards to cut the other hand. Tori the cuts to the right side of the neck. Tori then does a right kick to the chest to knock him back. NOTE: If the Yari blade comes close as you kick him back away for safety. 9. KIRI KAESHI Cutting return Tori has a Katana in Chudan no kamae. There are three basic ways of doing this form. 1. Uke 1 steps forward with Chudan Tsuki. Tori steps forward to the left, and cuts with Do Kiri. 2. Uke 2 steps forward with Yokomen Kiri. Tori advances and cuts with Do Kiri, and turns to face Uke 3. 3. Uke 3 cuts with Jodan Kiri. Tori advances very fast, and cuts again with Do Kiri. NOTE: All Kiri are from left to right. 10. SUTEMI - Sacrifice You are surrounded by a group of swordsmen. Make them believe that you are going to attack the strongest point of their attack and then quickly escape through their weakest point. 11. METSUBUSHI – To crush the eyes. 1.Two attackers, one in front in Daijodan, the other behind in Seigan. The one at the front attacks with Jodan Kiri, while the one behind moves to Daijodan. Tori with the left foot forwards with the saya in the left hand, and the sword drawn in the right hand held high (similar to Daijodan). As the first attacker cuts down, step forwards with the right foot bringing the sword across to block his sword and hold them together. Turn to the rear to release the Metsubushi to the rear from the Saya. Turn to the front again releasing the Metsubushi to the front while stepping back with the right foot. Step forwards with the right foot cutting with Yoko Giri to his midsection. 2.Uke does a Batto no kamae, and draw to Daijodan and Jodan kiri.. Tori does a Batto no kamae with the saya in the left hand. Step forwards with the right foot, drawing the sword with the right hand, and use it to block Ukes Jodan Kiri. Throw the Metsubushi at his eyes and then do a Katate Do Kiri. Noto. Note: You can get three or four lots of Metsubishi from one saya. 12. KAGE NO ITTO - Single sword shadow Use this form of draw when you are close to a wall and you wish to draw the sword so that you do not expose your position. With this draw you will be able to remain in the shadows. This reverse draw starts on the left side and is moved to the right across the back. A great deal of flexibility is required in the wrists for the sword to be turned, and lifted in a single movement, and then drawn over the right shoulder with the right hand. This technique is best transmitted Orally. 1.Batto no kamae 2.Step to the left with the left foot and push the sword handle to the left with the left hand. 3.Push the sword to the right with the left hand across the back, so the handle points out to the right (the sword is till cutting-edge up at this point). The right hand rests on the top of the Tsuka so that the palm faces rear. Slide your hand around the Tsuka until your palm is underneath, and then take hold. Keeping constant contact with the Tsuka, turn the hand and the Tsuka so that the cutting-edge now faces downwards. Lift the Tsuka up to behind your right shoulder so you are able to draw the sword over the shoulder. The left hand remains on the saya throughout and returns the saya to the left hip once the blade is free from the scabbard. NOTE: This is also known as 'Ninja Shinden Iai-giri'. It is used when there is an obstacle or person in the way. In the eye and mind controlling method called Sanzu no metsubushi, the Kage no Nitto (double shadow sword) thus protects the invasion of evil. 13. SHINOBI IAI (Shinobi Iai Happo Sabaki Gata) – Ninja draw The sword drawing techniques require free movement of the feet. This is the eight ways of footwork for drawing the sword. Start in Shizen Tai. 1. Move your left foot to the right in Yoko Aruki in front of the right foot. 2. Move your right foot to the left in Yoko Aruki in front of the left foot. 3. Move your left foot diagonally to the rear left. 4. Move your right foot diagonally to the rear right. 5. Move forward with the right foot. 6. Move straight backwards with the left foot. 7. Move diagonally forwards to the right. 8. Move diagonally forwards to the left. 14. TE NO UCHI (Hand strike)

Uke is in Gedan no kamae, and Tsuki. Tori is in Daijodan no kamae, hold Metsubushi in the right hand. As Uke does his Tsuki, throw the Metsubushi into his face then do a Katate Yoko Giri to the neck as you walk forwards. Noto. 15. SAGEO GATA Sono ichi – Scabbard cord forms No1 Tie the end of the Sageo to the Obi. You have two Uke. One to the front, one to the rear. Pull the Saya from the Obi, throw it to the rear to strike the Uke in the body, immediately attack the Uke at the front cutting him down.. Then you must quickly turn to the rear and cut that Uke down. Pull the Sageo to retrieve your Saya and push it back into your Obi. 16. SAGEO GATA Sono ni – Scabbard cord forms No2 The Togakure Ryu sword has a small metal weight attached to the end of the sageo. Pull the Saya from the Obi with the left hand. Hold it in the left hand at the Kojiri or the middle of the saya. Flick the saya so that the weighted sageo flicks out at the Uke, then cut him down Notes: When the Saya is loaded with metsubishi it will last for three flicks at least, then the weight will come into action. Keep flicking as much as you need to to keep the Uke at bay. Hitting him with the weight will injure him. Sageo Nanajutsu – Seven scabbard forms 1.As a substitute for a ninja's belt, if the ninja's belt was cut by his enemy, or when the ninja sleeping in his bed with his shinobigatana close at hand couldn't find his belt easily in the dark. 2.It was used as a signal of warning when the ninja slept in inns while travelling. While sleeping, he fastened the end of the sageo to his hand or concealed his long and short swords with sageo under his bed. This was to awaken him if someone tried to steal his swords. 3.It was used as a device for climbing over a wall. with the sword leaning against the wall, the sageo between his teeth (or tied around his ankle), the ninja climbed up the wall using the tsuba as a booster step. in accomplishing his climbing, he pulled up the sword by the sageo. 4.It was used when the goton no jutsu was applied. 5.It was used to tie an enemy and secure ninja tools as well 6.It was used when the ninja tried to snatch a long weapon such as a spear from his enemy by twining the sageo around it (karame dori) 7.It was used as a weapon for metsubishi 17. TAI WARI ITTO (Itto Ryu Dan – sword mortar shell) 1.This is were the Saya is filled with Metsubishi, and sprayed in the face of an opponent. Uke is in Daijodan and cuts with Tenchi Giri. Hold the Saya by the Kojiri, hold the Saya across the front of the body (this is Hidari Hanmi no kamae). With the sword held above the head (Kocho no kamae), and spray the metsubishi from right to left in an arc. Then move in and cut across the neck, or Tsuki. If you run out of powder, use your sageo. (This is Sageo Gata)

BOJUTSU KOTSU red Oak to make a good Bo The Jo is not primarily a military weapon, indeed it is considered as more of a defensive weapon, as it doesn't have any sharp edges (as with a sword). However once a sword has been used a number of times, it may lose efficiency, because of damage to the blade. This is not the case with a Jo, which will always remain good. Because of the length of the Jo (being approximately two thirds of the Rokushaku Bo and only slightly greater in length than the sword), it was neccessary that the user move in to strike and then back out of range again. 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. 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. Using the full length of the Bo for striking. Use the last inch, and edge of the Bo when striking. 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. Switch step, and striking together quickly, with a slight jump in between. Ny_ibo Made of wood, and about 6.5 foot long, covered in leather and covered in metal studs. They were used a lot in the battle fields. They were used to smash down on to the men in armour, and knock them back. If struck hard enough it would knock them out. It could also be used to stand behind to protect one's self from being struck by sword, arrows, or other weapons. It could break things such as swords, and bones. A long cloth tassel was attached to the end, to distract, and to help throwing it over the shoulder. Bo with 9 metal bands The Bo has 4 bands at each end, 1 in the middle. They are spaced out so that the gap between each is the width of the hand. Apart from being able to increase the impact power of the Bo it will also help strengthen the ends. Bo with small hook on the end This can be used to hook onto cloths or armour, and help keep the enemy at a distance. It can also be used to slam into the side's of the enemies body to wound / injury him. Octagonal Bo No different than the round Bo, except it is multi-sided, which is edged instead of rounded. It is also thicker than the round Bo. The edges when they contact can cause the skin to spilt, also the weight can be used to bear down on the enemy. Shugenja Bo This is a monk's walking stick, which has a large ring with 9 small rings looped into it. The end of it has a metal spike. The whole end and rings are made of metal. The end can be used to poke, and strike the enemy. In effect it can be used as a small Yari. Daisharin This is a wheel and axle, used for the launching of ships or boats into the sea. It floats to the surface after the boat has sail off. The axle is approx 10 foot long, and the wheels 2 foot wide, and 3 inch thick. The whole assembly can be rolled along the ground knock people over, or one end can be rolled, while the other is held. Kuki Gyoja Bo This is from the Kukishin Ry_, and is also known as a Kukishin Ry_ Bo. Four metal blade like spikes are attached to one end, with the sides reinforced by metal bands, which are studded. The end of the Bo is hollow, with a 4 foot cahin with a weight is hidden inside. This can be flipped out when needed. The oppersite end of the Bo has nine studded metal bands with a metal pointed end.

GYOKKO RYU WAZA Sanshin No Kata Chi No Kata (Earth) Hold the Bo in shizen Tai in the right hand. Step back with the right foot. The Bo is at the same angle as the right leg, with the top of the Bo forward. right step forward lowering the top of the Bo, and Chudan Tsuki with the Bo. The Bo should not stop but go right through Uke. It is more effective if you don't try to fix on one particular target. Think of striking into space. Henka As above. With the right step forward, bring the rear of the Bo up to strike under the chin with Haneage. Henka As Uke does a Tsuki, Tori drops back on the left knee, and then turns the body to face Uke. The right foot, flips the bottom of the Bo up into Ukes groin.

Against Seio Nage Step back with the right foot. With his back against your chest. Step forwards with the right foot, so that it is across the front of Ukes right leg. Pass the Bo across his neck, and take hold of it with the left hand, and choke him. Step back with the left leg to take him down. This can also be done with Uzimaki Henka Uke does Seionage. Tori steps back with the right foot, and passes the bottom of the Bo through Ukes legs. Tori then takes hold of this end of the Bo with the left hand. As Tori walks forward, he releases the right hand. The Bo comes as high as the groin, and the end of the Bo strikes his shin as Tori walks past. You can also step back with the left leg. Walking With The Bo Just as you approach Uke, look back, and bring the Bo to Katate Chuden no kamae by the Obi. Turn to face Uke, and strike to Suigetsu while you both are still walking. Henka After the Tsuki drop to the left knee, and take hold of the Bo with the left hand as strike across his shins as you would with Do Uchi (brace the Bo across your own shins). Henka As above. After the strike to the shins step back still on the knee, and drop the Bo with the right foot on top to strike down with the whole shaft on both Toki. Henka When walking with the Bo, bring the right hand to the side of the Obi, with the Bo horizontal. Turn to look back as you do this, then turn to face Uke striking to Gorin as you turn back to face him. Leave the hand by the Obi for the whole waza. Henka After the above Tsuki, drop to the left knee, and Ashi barai across the front of both of Ukes shins, then step up, and a right Yoko Keri to the side of Ukes knee. Ryote Uke You walk towards two Uke who are about 2 metres apart. You notice they will attack. As the first one passes, bring the Bo horizontal, and strike the second Uke with Chi no Kata Tsuki to Gorin. Then striking sideways to the first Ukes hand with the rear of the Bo, as he goes to draw his Katana. Henka Uke does a tsuki. Tori releases his hand, and turns it, and grabs the Bo again, dropping to the left knee with a Tsuki to Ukes groin. The Bo is braced along the forearm, then Do Uchi. This can be against one behind and one in front. As you rotate the hand the top drops down on the rear Uke. Henka As you move down the left foot goes to the top of Ukes Toki. Tori strikes with a Do Uchi style to Ukes right shin. Sui No Kata (Water) Starting in Shizen Tai, Uke does a right Tsuki. Tori steps back a little to the right, and a left Jodan Uke. As Tori steps forward with the right foot he transfers the Bo to the left hand, and strikes with a right Omote Shuto to the side of Ukes neck. Hit with either the Bo or with the knuckles of the left fist. Henka As Above. Then the left foot scoops the bottom of the Bo up into Ukes groin. Henka as Above, but with the hand transfer, Tori slams the Bo into Ukes arm with the left hand. Henka After the Bo slam into the arm, the right hand grabs the Bo, with a right step forwards. The left hand slides to the top of the Bo, and do Uchi. Henka Uke does a right Jodan Tsuki. Tori does a left Jodan Uke (Toris posture is the same as the first movement in the Chi no kata Bojutsu). the right hand release the Bo, and rotates so that the thumb is now underneath. Tori lifts the Bo level at shoulder height, and does a Tsuki with the top of the Bo to Ukes face. Henka If a second attacker is behind Uke, flip the Bo over as in Tento Uchi to strike the other Uke. Henka As Above then Tobi back. Yoko Aruki

As Uke does Tsuki tori steps back, and brings the Bo to Katate Chuden no kamae. Tori then steps to the left with Yoko Aruki, and slams the side of the bo into Ukes front. Ka No Kata (Fire) In Shizen Tai, as Uke strikes move the left leg back, and grasping the bottom of the Bo as it rises on the left. Tori then strikes across from the left to the right to Uke. Keep the knees bent. Henka After the neck strike, Tori shifts to the left with the left foot, and releases the right hand. Tori reaches over and grabs Ukes right hand, and pulls it over the top of the Bo to restrain Uke. Pull the hand, and push the Bo to drop Uke. Fu No Kata (Wind) Tori is in Shizen Tai. As Uke kicks Tori drops the top of the Bo over to the left dropping it down on top of Ukes shin. The Bo is then rotated over so that it is on the left. What was the top is now forwards. The left hand grabs the Bo. With a right foot forwards Tori does a Tsuki. Henka Same start. When the Bo has struck the Shin, Tori turns the Bo back, so that the bottom of the Bo strikes up under the shin. Tori grabs the Bo under the right hand with the left hand, and strikes with the base of the Bo into Ukes chest (top of the Bo is near Ukes head). Henka If a Kunai is ties to one end of the Bo (Bo is held with the Kunai at the bottom). Tori step back as Ukes strikes, and then steps in striking by lifting the base of the Bo up into the groin. Ku No Kata (void) Tori is in Shizen Tai with the Bo in the right hand. Uke goes to grab the collar with the right hand. Tori steps back a little to the right, and drops the Bo on top of Ukes wrist (top of the bo drops to the left) with the Bo horizontal. Tori then comes in and kicks up with the right foot under the chin. Henka As Tori kicks up he switches hands on the bo, and rotates it above the head in the left hand, and strikes down on top of the shoulder or the head. Tori can also throw the Bo at Uke from here. Henka Same start as the base kata. Tori then steps back slightly to the right, and turns the left side of the Bo to the right so that it strikes into the side of Ukes neck. The rear of the Bo tucks under the right armpit. Henka If Uke grabs the collar, the same techniques are used, except the left hand covers as in Omote Gyaku. Use the nail, and Omote Gyaku to take his hand from the jacket, and hold it out to the left with his arm straight. Strike up under the arm or down on top of the arm.

KUKISHINDEN RYU KOTSU - Use the very tip / edge of the Jo when striking - When striking with the Jo, the arms are held out from the body from the body (almost stretching - At the point of contact when striking with the Jo, both hands should be holding the end of the Jo, in much the same way as holding a sword (they are together not seperate). - Use the length of the Jo with the hands at the end to keep out of reach of the sword. - Crossing the hands is permitted with the Jo. - Keep the knees bent. - When the Jo is made from the lower end of a Naginata, use the Harumaki to hook the cloths in some of the movements to control Uke. Also use the Harumaki to strike with.

KAMAE Jodan No Kamae 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. The balance of the body can be shifted from one to the other to allow distancing, and balance to change. 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. The body can be up right with the legs strain, or in Yoko Aruki. The arm hugs the Bo when it is underneath the armpit. 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. Variations of this are to leans right forward, and backwards, with the weight mainly on the rear or forward foot. Ichimonji No Kamae Stand side on to the attacker. The Bo is held in both hands, across the waist line. The leg postures, position, and balance changes depending on the terrain. Hira Ichimonji No Kamae Stand with the feet shoulder width apart. The Bo is held in both hands in front of the body. Gedan is with the Bo across the waist, Chudan is with the Bo across the chest, Jodan is with the Bo from the face upwards. Even as musc as holding the Bo high above the head. 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. When the Bo is held is follows the same angle, and line as the body. A henka is to do the kamae is complete reverse, with the rear end down, and the front raised. The rear hand is by the Obi. 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. For this kamae the lead hand can be underneath rather than on top as it usually is. 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. As with the other kamae, as and when needed the legs can be placed in a variety of postures. Heiton No Kamae The Bo is pulled back to the central position, and is held 90 degrees across the back.

KYUSHO Age Uchi / Hane Age Strike upwards kasumi uchi / yokomoen Strike to the temple Tento Uchi / Men Uchi Strike to the top of the head from above Do Uchi The Bo strikes to the mid section. Ashi Barai The Bo sweeps the legs away

Kote Uchi The Bo strikes the wrists. Toki Uchi The Bo strikes to the top of the Foot. Tsuki The Bo strikes with a thrust Rokushakubojutsu Bofurigata Spin the Bo in an upwards direction, beginning from Ihen no Kamae. Keep the elbows close to the body and move the legs and body as the Bo spins. Ashibarai Strike to Uke’s leg(s) using your body Menuchigata From hidari Chudan no Kamae, spin the Bo and switch step so that the right leg is forward and strike ashibarai. Keep the legs as they are in strike to Uke’s Kasumi by bringing the tip of the Bo up from where you have just attacked ashibarai. Switch step and strike ashibarai to the other side, let go with the the right hand, rotate the Bo, re-grip with the right hand and strike ashibarai. Shihobofurigata Spin the bo to attack several opponents all around you, you must change direction freely and can also “throw” the Bo over your shoulder to attack an opponent behind you. Goho Uke is in Seigan with Katana, Tori is in Ichimonji no Kamae with the Bo. Switch step while doing bofurigata three times then when your right leg moves forward, strike ashibarai then swing the bo tip up to strike Uke’s Kasumi. Switch step and strike ashibarai. Shift your weight backwards over the right leg to rotate the Bo in your left hand then shift your weight forward to strike ashibarai (left leg still forward). Shift your weight back to finish in hidari Ichimonji no Kamae. Uragoho Uke is in Seigan with Katana, Tori is in hidari Ichimonji no Kamae with the Bo. Tori shifts into hidari Ihen no Kamae then begins bofurigata. Tori spins the bo to switch step migi, then hidari and immediately does hidari tsuki to Uke’s suigetsu. Tori does a switch step to strike Uke’s kasumi then another switch step to strike hidari haneage. Finally, Tori does another switch step, rotates the Bo and strikes migi kasumi uchi. Note: Soke said that when doing the tsuki from the bofurigata, you must be able to move in any direction freely. Sashiai Uke is in Seigan no Kamae with Katana, Tori is in hidari Chudan no Kamae with the Bo. Tori shifts his weight forward and strikes hidari tsuki (turn your right hand sideways so the palm is facing outwards). Tori then steps forward with his right leg to strike migi do uchi. Tori pulls the Bo back, sliding it through his hands and then step forward with his right leg to strike age uchi to Kinteki or haneage. Funabari Uke is Seigan with Katana, Tori is in hidari Gedan no Kamae with the Bo. Tori steps forward with his right to deliver do uchi, then steps forwards with his left to deliver tento uchi. Tori steps with his right to so age uchi, then steps with his left to do tento uchi. Chônoissoku Uke is in Seigan with Katana, Tori is in hidari Tenchi no Kamae with the Bo. Tori steps forwards with his right leg and drops to his left knee to slam the Bo down to the ground, toki uchi. Tori slides the Bo back and strikes ashibarai (Tori’s legs remain the same). Tori steps forward with his left and strikes hidari kasumi uchi then spins the Bo vertically in his left hand to strike tento uchi. Tori pulls the Bo back and steps forward with his right to strike migi kasumi uchi then rotates the Bo in his right hand to strike migi ashibarai.

Uranohitoashi Uke is in Seigan with Katana, Tori is in Gendan no Kamae with the Bo.

Kihon Gata (New Start Forms) Ukemi Gata Bo book P. 71 Uke, and Tori face each other in Hira Ichimonji no kamae. Uke steps forward with the right foot, and strikes with tento Uchi. Tori steps forward a little with the left foot, and brings the Bo up above his head, with the left arm higher than the right. The Bo is angled. The right hand, has the palm flat against the Bo, so when Ukes bo strikes and slides down to the right, it will not break the fingers. Bo Furi Gata The Bo is rotated from the left to the right and visa versa. This continues, also if neccessay striking can take place. Ashi Barai Bo book P. 74 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. Shiho Bo Furi Gata Bo book P. 76 Tori Furi's 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 Men Uchi Harai Bo book P. 82 Uke, and Tori are both in Ichimonji. Stepping forward they strike with ashi Barai, followed by Kasumi Uchi (no step). Pulling back the Bo to Gedan on the left side. switch step, 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. Tsuki Hane Bo book P. 85 Both Uke, and Tori are in seigan. Uke does a Tsuki with the Bo. Tori also does a Tsuki to the top of Ukes hand, and then quickly does a right step forward with age uchi. Tori without moving his feet turns clockwise, from the hips up, hooks the Bo up, and through to the top of Ukes wrist, knocking him over. Shoden No Kata 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. 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. 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.

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. 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 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 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. 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. 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 with the 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. Chuden No Kata 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. 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. 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. 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. 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. 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. 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. 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. 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. Okuden No Kata 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. 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. 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. 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. 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)

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. 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. 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. 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. Keiko Sabaki Gata Goho (Five Methods) Bo book P. 88 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 moves into Seigan no kamae to finish. Ura Goho Bo book P. 93 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 Gedan, 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. Sashi Ai Bo book P. 101 Tori is in Ihen no kamae down to Chudan 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. Note To do the Tsuki at the start, the right hand turns so that it is on top, and slides the Bo through the left hand. Fune Bari Bo book 106 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.

Tsuru No Hitoashi (Ch_ No Issoku) Bo book P. 112 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 (still down on the right knee). 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. Ura No Hitoashi (Ura Issoku) Bo book P. 118 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 (Tento Uchi). Tori steps forward with an Ashi Barai. Tori releases the right, and catches below the left hand (Tento Uchi) 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. Suso Otoshi Bo book P. 124 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 For the over head Do Uchi, as it is raised in the right hand, the Bo is held tight against the right forearm. 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. Ura Suso Otoshi Bo book P. 127 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. Ippon Sugi Bo book P. 131 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 hands in 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. Taki Otoshi Bo book P. 137 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 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.

Koku (Empty Space) Bo book P. 143 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. Kasa No Uchi Bo book P. 147 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. Tachi Otoshi Bo book P. 153 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. Harai Bo book P. 158 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. Kote Zuke (Yama Te Tsuke) Bo book P. 161 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 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 Moku Zuke Bo book P. 165 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. Keage (Shu Ken) Bo book P. 176 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. Geki Ryu Bo book P. 179 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. Note The Bo is held in the central position, until the Kasumi Uchi.

Tsuke Iri Bo book P. 183 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. Gorin Kudaki Bo book P. 186 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. Tenchijin Bo book P. 190 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. 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. Mae Hirio Bo book P. 193 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. Ryo Kote (Two Wrists) Bo book P. 198 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. Ura Nami (Inside Wave) Bo book P. 200 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. Tama Kaeshi Bo book P. 205 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. Bo Nuke Kubi Nuki Tori is trapped with 4 Bo around the neck in a grid pattern. The Bo's 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. Benkei Nuke

Tori is held down by two Bo. One across the chest trapping the arms to the sides of the body, and the other across the shins. Tori turns his toes inward's 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. SOJUTSU (YARI) Construction of the Yari The Yari's pole is from 1.5m - 4.5m long. Generally it is made from Oak. The opposite end to the blade has a metal fitting known as the Ishizuki. This is made of iron, and forms a point design. Although most Ishizuki finish as a point, so are more bullet shaped, with the end rounded. The Ishizuki end of the pole is bigger than the end that holds the blade. The helps with the balance. The binding on the blade end of the Yari should be at least twice as long as the Yari blade. The Blade of the Yari is from 8cm -50cm. This is usually made from iron, by a swordsmith, in the same manner as the Katana are made, with the iron folded up to a maximum of 21 times KIHON When you Tsuki, the front hand turns the Yari, so that it is on top of the pole, to help apply pressure, during the Tsuki. Migi Hidari Tsuki Start in Seigan no Kamae, with the left leg forwards. Shuffle step forwards with the left leg, and rotate the left hand turning the Yari over. The left knee is bent almost to 90°. The Yari is raised so that it is level with the right hand almost up to the breast.

KAMAE Seigan No Kamae (Yari book P. 56) Same as Bojutsu Seigan, with the Yari blade towards the face Ryusui No Kamae (Yari book P. 61) This is similar to Jodan, except the Yari is held out to the side of the head. Chudan No Kamae (Yari book P. 66) The Yari is held horizontal, with the blade forwards. It is held at the same level as the belt. Chudan no kamae is a form of Ihen no kamae Jodan No Kamae (Yari book P. 71) The Yari must be held horizontal above the head, with the body side on to Uke. Taihen No Kamae (Yari book P. 74) This is the same as Bojutsu Ihen, but the body leans slightly forwards. The Yari is across the chest Yari Gedan No Kamae (Yari book P. 78) This is the same as Jodan. except the Yari is at a sharp angle down in front of the body. The shaft is next to the right eye. It is almost vertical.

WAZA Keiko Gata (Kata of practice) Ryu Ka (Dragon haze) Yari book P. 168

Left foot forward, and Tsuki pushing the Yari through then hands (Sui Ryu). Draw the Yari back through the hands to hold the blade end of the Yari. Lift the Yari to waist height, away from the body. Let go with the left hand, and lean to the left, rotate the Yari on the right side, keeping a tight hold so the blade is at the rear. Place the Yari across the back diagonally, with the blade at the left shoulder. Pull it over the left shoulder, and hold the Butt end in the right hand, and drop to the right knee to Tsuki. Raise from the right knee, and prepare to throw. Yari Tai Hen (body movement with a spear) Yari book P. 171 Hold the Yari in Jodan no Kamae, holding the bottom 3rd of the shaft. Drop the right hand to chest height, and rock forwards. Slide the hands to normal Yari position, and hold at stomach height. Right Yoko Aruki to Do Uchi. Rotate the Yari over, with the Butt at the ground. Turn into Do Uchi, and right step back at the same time. Note: If doing this against Uke, you can turn the ending into Ganseki Nage with the Yari. Kaisetsu Gata Kanpo (Warding method) Seigan no kamae. Chudan Tsuki. Pull the Yari back up to Ihen no Kamae. Tsuki so that the Yari slides through then hands, so that the right hand comes to the left hand. Pull back again to Ihen no Kamae., and repeat the Tsuki. Uke steps forward to Daijodan no kamae, as Tori does a Switch step striking with Ashi Barai to Ukes ankle. Notes: You must be able to shift the Yari with more than just the Knees, spine, and footwork. When he raises to Daijodan no kamae, this is his weak point. This is important. In the kata, with the first Tsuki hold the Yari firmly at the hip, as a strong parry will knock it from your hands. Shift the body back, move the Yari as if withdrawing. Keep the right arm at the right shoulder level. For the Ashi Barai, if he is wearing armour, you may need more than just the impact. You must be prepared to move again. Use circular motion, move the Yari and the right foot at the same time. Shiho Waza (Four directional technique) Jodan no Kamae, Tsuki. Step to the right a little with a short Tsuki. Step forwards with the right foot, striking with the Ishizuki to Kasumi (with a low posture). Drop the Ishizuki down rotating it over on the left side turning this into a Tsuki. Step forwards with the left foot, striking with Hane Age to Suzu (Low posture). Notes: If Ryusui no kamae is use instead of Jodan, the feet need to be approx 60cm apart, and the knees need to be able to move freely. Draw back the Yari at the start so that he can not parry it. Do this by doing the Tsuki from Jodan, and drawing it back to Chudan, and immediately go in with the next Tsuki as you step. Depending how close you are you can place the Yari between his wrists and pull it up and back so that the Ishizuki comes into Suzu with one movement. The distance changes depending if it’s Kata or Shinken Gata (real fighting). If he manages to parry drop the Yari down and Tsuki from below his wrists. If you hit with the shaft of the Yari pull it back stroking his body with it while pushing down. Hicho Kaku (Flying bird hurl) Ihen no Kamae, Tsuki, then Hicho Tobi 45° back to the right, rotating the Yari back over so that the blade comes to the rear. Right step forwards and strike to Kasumi with the Blade. Drop the blade down and back rotating it so that it is on the right side, step back across with the right foot to the left side to Ihen. The right foot comes across the back of the left with Yoko Aruki. Step forward with the left foot, and Tsuki. Hicho Tobi 45° back to the right rotating the Yari, right step forwards Kasumi Uchi with the blade, drop the Yari down and Tsuki to Do (This is Jujiro Tsuki (cross cut) - Cut the neck and another part of the body start after that). Notes: When you Tsuki slide the shaft through the left hand. When you hold the Yari out and thrust this is called ‘Tobashi Zuki’ (Flinging thrust). When you do it against armour it wont go in, so you do it 2 or 3 times in fast repetitive movements. The Kasumi Uchi is called Yoko Shibaki (Side thrash using spear head and the edge of the blade to hit and cut at the same time). Skulls found at battle sites have been found with temporal bones cracked from being struck with weapons such as Yari, Naginata, etc. If Uke attempts to parry a Tsuki, hit his hands, then thrust in . Use the shaft on his wrist to stop him lifting his hands as you Tsuki. Hitotsukiai (Single thrust press) (Ittotsu Ai Ho) Jodan no Kamae. Rotate the Yari over head with a right step forward with a Kasumi Uchi. Drop down to the left knee, and a Tsuki to Hara. Stand rotating the Yari in front of you over to the right side dropping down to the right knee, and a Tsuki to Hara. Stand and switch step to hit his thigh/calf with the Ishizuki. Step back with the right foot and Tsuki while he is down.

Notes: In Jodan no kamae with the Yari held level this is the version from Takagi Yoshin Ryu. Depending on your distance, you do not slide the Yari through the hands. When you drop to the right knee, Uke raises to Daijodan no Kamae creating an opening for you to Tsuki. At the start it is important to get your distance, right shuffle in or out accordingly. You may shift your hands so you can alter this distance. For the Kasumi Uchi, if he goes low to block the Yari. You can push him with the shaft. For the Tsuki when he is down, push it directly into his body, in a sharp descent, pushing right through him. If you have to hold the very end of the Yari when you strike Kasumi, use the lead shoulder against the shaft for strength. When you thrust from low down you have many targets. You can also cut the armour shoulder cords with the blade. Itto Santo (One lunge three hits) Start in Shizen Tai with the Yari vertical in the right hand. Step back with the right foot pulling the Yari to Chudan no kamae., and Tsuki sliding it through the hands (all in one movement). Right step forwards and Do/Kasumi Uchi. Slide the feet back a little to the left rotating the Yari to the left side and Tsuki. Switch step, and moving a little across to the left, rotate the Yari across to the right and Tsuki. Then push Uke back pushing the Yari in. Notes: Also try holding the Yari level in Shizen Tai Also use Ihen no kamae. This kamae is used to deceive an enemy, as there are no rules for Ihen. Use the whole Ki of your body when you hit him Hassai (Snap up and crush) Jodan no Kamae or Ihen no Kamae, Tsuki. Switch step and rotate the Yari for Ashi Barai, with the left hand by the Ishizuki. Switch step and drop the blade rotating it down and back and Tsuki with the Yari on the right side. Switch step, stepping across to the right rotating the Yari to Hit Kasumi. Switch step, dropping the Yari down and back to rotate and Tsuki (left foot forwards). Notes: In Ihen you can move the Yari into Gedan no Kamae. The quickly snapping your knees into a bent position, swiftly bring the Yari up to strike. Not only does it rise it also does a Tsuki. This is an important movement. Depending on the position of the hands, you can lift up from the Ashi Barai as you rotate the Yari to hit his hands from underneath. This may cause him to lose his sword. Hold the Yari down at an angle, Yoko Aruki forwards, then snap up. This is a variation on the start. If he parries your Tsuki, this may help you rotate the Yari, for your next movement. It can also leave him slightly open. Hiso (Secret spear) Chudan no kamae, Tsuki. As you bring the Yari back, switch step moving the right foot 45° to the front with Ashi Barai . Step straight back with the right foot to Chudan no Kamae, and Tsuki. Right step forwards with Ashi Barai (He blocks the Ishizuki). Knock his sword to your right as you step back 45° to the rear left dropping down to the right knee (he cuts Kesa Giri), Block the cut rotating clockwise and Tsuki to Hara. Notes: The Ashi Barai which he blocks, use Hane Age, this way your Ishizuki is on the left side, when you drop down to the right knee. Strike down on top of his sword with the Yari. In Chudan the Yari can be held away or close to the body. You can change the technique by using less footwork and rotating the Yari. Sharply tap his sword to the side and Tsuki, all in one movement. This is an important point to learn Use Ryuki (Dragon spirit) each time you change your bodies position Tenchi Kaku (Heaven, Earth drub) Seigan no Kamae, Tsuki. Switch step and Hane Age. As you move bring the blade from the rear, over the head to strike Kasumi. Step back rotating the Yari as you move, so that you hold the Yari in the middle. Raise the Yari to shoulder height and throw it at Uke. Notes: Uke starts with his Katana sheathed. When he starts to draw his Katana, raise your left arm to shoulder height. This must be relaxed, and floating in the air. From the Hane Age, Immediately flip the Yari around. Depending on distance, you may have the choice of hitting the hands, Kasumi, or both. The throw will depend on how close you are to Uke. If you are very close, you may keep hold of the shaft, and push the blade in. You may place the left hand/arm straight out, and rest the end of the Yari near the wrist as a rest. This position is used as a threatening posture if you do not wish to kill Uke, but guard over him. Then if he moves you are in a good position to thrust at him. Happo Yaku (Snap, Catch, Cram) Start in Yoko Shizen Tai. The Yari is in the right hand pointing diagonally down. The left arm is straight out pointing in the general direction of Ukes knee. The left hand comes across to the Yari, and Tsuki 3 times. Each time the left arms stays straight, and the Yari slides through the hands. With the Yari on the left side of

Ukes sword, rotate it clockwise until his sword is high, then drop the Yari blade down low, sink the posture and Tsuki to Hara, pushing it in until he drops back down to the ground. Notes: If you Tsuki with one hand have the palm up and support with the Bicep and Wakitsubo, trapping the shaft. When you Tsuki hit the side of his sword, manipulate him by moving to both sides of his sword. If you use a Gedan no kamae, you can thrust from below, do not hesitate between thrusts. If you use a Jumonji Yari, the cross blades can be used to catch his sword, and push his sword back towards him. This way you can also Tsuki and turn the Jumonji Yari so that the crossblades miss his sword and you skewer him. If you spiral the Tsuki, he will think you are trying to trap his sword, when in fact you spiral past his sword to thrust at his body. This is Kyojitsu. Kasumi Gata (Mist forms) (Gokui Gata) Ichimonji (Straight line) Jodan no kamae, Tsuki. Uke moves to Daijodan no kamae, and Tori turns the Yari blade a little to the left, then follows Uke as he goes back to Daijodan with a Hane Age. Uke drops his sword down to block this. Knock the Katana to the right. Tori steps in with the left foot with a Ashi Barai, and curves the Yari's path to Tsuki up to the face. Notes: When you pull the Yari back at the beginning, the arms are stretched our. Keep moving the body with a big sweeping motion like a wave. Tsuki to the point which will finish the attack the quickest. Kikusui (Floating chrysanthemum) Ihen no kamae or Chudan no Kamae. Move to the left, then right of Uke. Turn the Yari's tip in a spiral, using the right hand. The left hand is a pivot. The right hand moves clockwise. Tsuki at Ukes shin/foot (Hayabusa Tsuki), then pull the Yari back, and Tsuki at Hara. As you pull the Yari back, Uke raises to Daijodan, and cuts. Step to the right with the left foot, following behind striking Yoko Shibaki with the Ishizuki. Rotate the Yari on the left side and Tsuki with the hands close together just either side of the centre of the Yari. Notes: While you rotate the Yari, move in as if you were a whirlpool. When you rotate the Yari on the left, the Ishizuki as it comes down can strike to the wrists taking the left hand away from the sword. When you rotate the Yari at the start, make him look at your rear hand. This will draw his attention away from everything else. This is important. A variation is to also rotate the front hand. Move back at this time. This gives the impression of being absent minded. This movement is similar to paddling a canoe Kancho (Winding Ivy) (Maki Cho) Migi Ichimonji no kamae or Chudan no kamae, with the Yari held slightly to the left, Tsuki. Switch step and Ashi Barai. Rotate the Yari. As you do this Uke goes to Daijodan (you move to Jodan at the same time). Then Tsuki to the exposed Hara. Keep the blade in and push him down to the ground. Notes: You may also use Chudan no kamae. If the distance is great move in with Yoko Aruki. When you rotate the Yari do so, as if you were to knock his sword down, if you contact with it. It is important to maintain a good flow. When you Tsuki you can aim to push the Yari across the front of his chest to stab into his left arm. Use ‘Kikan’ the power of Ki to pierce the opponent. Kisasu (Demon stab) (Oni Zashi) Chudan no kamae, Tsuki. Uke is in Hasso no kamae, and steps back with the left foot to knock down the Yari. Tori steps back with the left foot, pulling the Yari up to Ichimonji (maintain ‘Shinki’ - this is to hold the Yari lightly, and relaxed to be ready to make the next move), then straight in with a Tsuki sliding it through the left hand. Tori pulls the Yari back, and another Tsuki. Tori does a switch step lifting the Yari and rotating it over onto the left side and Tsuki. Tsuki to the feet. Notes: Shinki can penetrate through armour (hold the Yari lightly and relaxed, being ready to make the next move by sensing where to go next). With a Jumonji Yari you can hit his katana with the cross blades to stop him cutting down. Do this in rapid repeating strikes. Twist/spiral the Jumonji Yari as you Tsuki. This way you can thrust past his katana to hit him. He initially gets the impression you will hit the sword. Change the spiral, then you can hit his sword, catching it. Then with a twist of the wrist you can snare his sword between the cross blades and the straight blade. This gives you a better control of him when he is trapped. Hiryu (Flying Dragon) Migi Gedan no kamae, Tsuki down at his feet (Uke jumps high backwards)uJJjjjjjjj. Switching step, Tori rotates the Yari so that it is level and a Tsuki. Tori lifts the Yari rotating it, at the same time switch stepping to

strike Ashi Barai with the blade. Uke comes in with a Tsuki, Tori steps back with the right across to the rear of the left and does a Do Uchi with the Ishizuki. Pushing the Ishizuki into the Butsumetsu to push Uke back. Notes: The Do Uchi is more of a thrust than a sideways strike. If Uke is in Seigan when you Tsuki straight at him, you must then trust with a turning motion with the end of the Yari to knock the sword out of the way, while you continue the Tsuki inwards. It is important to move the spine. If you strike with the Ishizuki to the cheek it is called Yokotsura Tsuki Buse (Trusting down.) Ichimonji no kamae, Tsuki to Hara, then Tsuki to the legs, then Tsuki to Hara. Lift the right hand high above the head almost moving to Gedan no kamae. Tsuki directly into Koe and Push in knocking Uke down. Notes: Angle the posture to the right, into Senhen no kamae (Thousand changes posture). This is a psychological technique. For the final Tsuki to Koe, Uke moves to Daijodan no kamae opening himself up. You are thrusting at his heart and stomach. This is to help crush his courage. If he attempts to cut you, you can still stab him. Use Fudoshin. Also use Taiso Ichinyo (blending body and spear as one). Kage Cho (Shadow Butterfly) Ryusui no kamae, Tsuki. Jump forwards to the right, bringing the right foot to the front, striking Do Uchi with the Ishizuki. Step across with both feet bringing the right foot to the rear. Thrust in with the Yari. Jump in again to the right with Do Uchi with the Ishizuki. Notes: At the start no specific Kamae is required. Use a natural feeling. Gedan no kamae may also be used. Make Uke feel as if he can not cut you. If you hit his sword and you lose grip of the Yari, learn how to Tsuki with one hand. If he parries you Do Uchi, you can then drop the shaft down to hit in again at close range to his ribs. Move to the left of his sword to avoid being cut. You can move ht his ribs as many times as you need. Satsugyoku (Three jewels) (Mitsu Dama) Jodan no kamae (lean to the right), Tsuki. Switch step and rotate the Yari for a Ashi Barrie (with Sofu - spear wind). From here flip the tip of the Yari up to Tsuki Notes: From your Jodan no kamae, look at Uke over the arms. When you Tsuki, aim at his chest and push his arms down. This is important. If he rushes in, Drop your Jodan, and he will impale himself on your Yari. This is the same as a Tsuki. Instead of Ashi Barai, you can strike down, attacking instead of sweeping. The initial movements are very similar. Use Taijutsu when you hit. If he moves to avoid, Thrust in. This is your que to attack with a Tsuki. Kyoba (Seven leaves) (Nanamai Ba) Ihen no kamae. Shift your footing back a little to the right, then step in with the right foot, rotating the Yari into Ashi Barai. Raise the Yari on the left, to a high Chudan no kamae, this is level with both shoulders, and move step by step across to the left. Then stepping forwards with the left foot, and rotating the Yari to strike with Ashi Barai. Notes: When you have done the first Ashi Barai, keep the upper body fixed in position and move only the waist to bring your body back upright. In the Kamae at the start, push the Yari blade out to the right to open yourself up to Uke. The rotate the Yari and move in. In this way you are offering yourself. Twist your body a little when you move in with the second Ashi Barai Ihen pulling it back a little you may be able to Tsuki. With a Jumonji Yari, with the first Ashi Barai, pull the Yari back sharply on the left. This will pull his sword with the Yari opening him up. With the Ashi Barai, press in hard. Hencho Gata (Changing Butterfly form) Oto (Side felling) Seigan no Kamae, changing to Jodan no kamae. Fake a small Tsuki (almost as if using no effort at all). Step in with the right foot hard, striking Kasumi with the Ishizuki. Switch step and rotate the Yari over head to strike with the Ishizuki to Kasumi (hold the Yari in the middle). Notes: With the strikes to Kasumi, the body is side on with the Yari along the side of the body. Keep it close and streamline. When rotating the Yari switch hands. The spinning is the same as the Rokushakubo. Changing the hands is not the same as the Bo. If you have two opponents the point of the Yari is at one, then rotate the Yari to strike the other with the Ishizuki, then rotate to strike the first with the Ishizuki again. If one is to the front, and the other to the rear, strike one with the Ishizuki, and the other with the blade. These are good

exercises on twirling the Yari. Ryu Zu (Dragon head) Gedan no kamae. Drop down to the right knee, and Tsuki. Stand (right foot forwards), rotating the Yari and Ashi Barai. Drop to the left knee and Tsuki to Hara. Notes: When you stand, rotate the Yari at the same time and step out to the right. This may help to create an opening to Tsuki to Hara. This is almost tricking him as you Tsuki. This time as you Tsuki, turn the right hand, and use the left hand as your direction finder for the Yari. In Gedan the lead hand sets your direction. When you Tsuki, use a sense of only holding the Yari with one hand. It is important to blend the Ashi Barai into the Tsuki. Flick the Yari up into a Tsuki. When the Kata becomes advanced your movements become much smaller even though they appear large. Rise up like a raised dragon’s head thrusting into he chest. This technique is difficult for your opponent to defend against if the opponent has a long sword. This is a Kuden. Tomoe (Whirl) Jodan no Kamae. Rotate the Yari above the head turning the Yari to the left. Uke is in Seigan no Kamae, and blocks the Yari. Tori rotates the Yari back around to strike at Uke on the other side. Uke blocks this. Tori repeats both rotations again., with Uke blocking each time. Tori again rotates the Yari, which Ukes blocks. Immediately as Uke blocks the Yari, Tori drops the blade and attempts a Tsuki to Gorin. Uke blocks this by knocking the Yari down. Tori quickly rotates the Yari at his side onto the right side, and odes a Tsuki to Koe. Notes: Whirl the Yari above the head three times like the Tomoe (three comma[,] shaped heads together). To rapidly rotate the Yari and hit in a constant whirling motion is one main point of this technique. Your Tsuki must move inwards within the breadth (close to) Ukes sword. This too is important. With the final whirl, your body should be in the natural position for you to Tsuki. Jumping forward switching the feet (as in a switch step) this is called a Hencho (as in Hencho Gata) Chogi (Nail remover) (Kugi Nuki) Seigan no Kamae into Jodan no Kamae. Shift the left foot forward. At the same time lower the Yari so that it is all level with both shoulders. Bring the right leg forwards, at the same time raising the right hand above the head (into an off centre Jodan), shift the left leg forward, dropping the right hand down to chest height. Knock Ukes sword to your right and Tsuki tot he throat. Notes: The shuffle step and lifting and lowering of the Yari almost makes the Yari look as if it is hooking something before it is thrust in. You move the Yari as if you are extracting a nail. Leap in with the body rather than just thrusting in with the hands. The thrusts are mainly high, but this feature of the technique can be when needed changed. The hooking of the Yari can be made in such a way as to fake a movement, or in sizing up your opponents strength and skill. Hook his sword out of the way by knocking it with a reverse ‘J’ movement (ü) Arashi (Tempest) Chudan no kamae. Rotate the tip of the Yari slightly while taking small steps to the right. Right step forwards rotating the Yari by your side and strike with a Do Uchi. Pull the Yari back on the left to a Chudan no kamae. Left step forwards and strike with a Ash Barai with the Ishizuki. Immediately step back with the left foot to a form of Seigan no Kamae. Drop the Yari down to Chudan no kamae and start to rotate the Yari again. Uke steps forward to Daijodan no kamae,. Tori immediately drops to the left knee and strikes with a Tsuki to Gorin. Notes: One way is to hold the Yari in Chudan against your chest when you rotate it. Move your chest at the same time. Then when you do the Do Uchi, you hit with the whole body. Also rotate the rear hand. In this way you can hit his sword with the tip of the Yari. If Uke parries the Do Uchi, pull the \Yari straight back. Manipulate Uke with your movements, this is important. Use your movements to unbalance him. Shinmyo (Heart light) Chudan no Kamae (tucked under the armpit). Uke is in Seigan no Kamae. Point the Yari directly into Ukes face. Then shuffling forward knock his sword tot he side and push the Yari straight into Ukes face. Notes: Move forwards inch by inch towards the opponent. If he attacks he will lose. At all times keep the posture through out. Remain strong in heart and spirit.. You must use Fushaku Shinmyo - An attitude of sacrifice of not clinging to ones life. Thrust in when you have touched his sword. Use a feeling to hit Uke. When you move in to hit him, use total commitment. Use a thrusting cut to hit him. If Uke can not wait for Tori to attack, he himself will attack which is his downfall, as Tori will thrust forwards with Sutemi Shinmyo (sacrifice of the

heart light). Thrust in then pull out. Taki Otoshi (Cataract drop) Hold the Yari in the right hand by the shoulder with a ratio of 7:3 (closer to the blade) Hold it central and assume a posture for throwing. Sink the body weight and twisting the hips and no step forwards, throw the Yari forwards into he air. Notes: The posture for throwing is similar to that used for throwing a European Javelin. In combat throw the Yari high so that it turns and falls like a ‘cataract’!. Hiding in a tree and throwing it down is the same technique. The Yari is not just for spearing. If someone is on a horse riding towards you, you may throw the Yari into the air to land vertical into the ground in front of the horse to cause an obstacle. Even standing in a cliff and throwing the Yari down below is the same. If the Yari blade is light, a stone is attached tot he end of the Yari to make it heavy, so that the blade Yari will land vertical. This is an important point. It is called ‘cataract drop’ because the Yari is thrown from high up down onto the target. Yoko Nage (Lateral throw) Ihen no Kamae. Slide the right hand down to the Ishizuki, and the left hand to the middle of the shaft. Raise the Yari above the head and turn the blade to your left and rotate the Yari over the head with just the right hand. The left pushes the Yari then releases it. The Yari is then with a right step forwards thrust directly (lateral) into the target before you. Once it pierces push it in. Notes: If at first you hit Ukes side, keep practising as soon you will be able to thrust in with the kata. Regard this technique as knocking down Uke rather than stabbing him with the Yari. For the final part, the left hand may if required grasp the shaft to help push it in. Initially hold the Yari as if you are about to take hold and throw it. Then after your grip for the rotation. Make sure when you do the rotation that it is lateral. Even though you are rotating the Yari make it fly forward into the target. The main point is to propel the Yari forwards. Tate Nage (Longitudinal throw) Hold the Yari in the right hand as for throwing by the right shoulder. Advance towards your target and throw it in. Notes: This is for throwing at nearby enemies. You are holding the Yari in a Chudan/Seigan no kamae position. Hold the Yari 17 inches (43cm) behind the Senban Maki (spear blades reinforcement on the shaft). Hook it into the air and re-catch it in the right hand for throwing. You must be able to throw in any direction. Even so much as having to change direction then suddenly throw it at the target. Zanshin is of the utmost importance. This technique may also be known as Tachi Nage - Standing throw. Use a throw from kneeling, this is called ‘Shiho Tenchi Nage’, this is a Kuden Nichi Getsu (Sun and Moon) Any kamae. When surrounded closely by many attackers shift the hands tot he Ishizuki end of the Yari, then suddenly bring the Yari above the head rotating it rapidly. Keep absolute control so that you may drop the Yari down to protect yourself or attack any number of your attackers. Notes: This is a technique for you to leap at your enemies while holding your Yari. Hold the Yari 7.5 inches (18cm) from the Ishizuki. Rotate twice high then twice low (head - legs). This way your opponents can not keep watch of your movements and you can cut your way through the crowd.

NAGINATA KOTSU Any cut which swings in an upward motion, cuts mainly to the body, legs, arms, etc (kesa Giri), comes up diagonally Any cut which swings downward (Ura/Gyaku Kesa Giri). In this cut the weight of the Naginata is not controlled, but taken advantage of, i.e. letting it fall. Again the cut is either diagonal, or straight down (Jodan Kiri) as a chop. When holding the Naginata, the back of the hand, and the back of the wrist must be in line. It should fit comfortably in the hand. If these points are not followed, the Naginata hold will not be strong. It is important to measure the distance (Miai). Hold the Naginata in the rear hand, and cross the blade with the Katana.

Walking with the weapon From kamae, Transfer your weight onto the front leg then, pushing of with the ball of the right foot, lift your right leg up and bring it down behind your left heel (heels together) with the toes pointing 90 degrees to the right. Then lift your left foot up and extend it forward, putting it down heel first into kamae once more. When using this walking method it is important to keep your weapon stable. The weapon should be in contact with as many points as possible so that it is under your control. With naginata in hasso, the shaft should remain against your right leg as at all times during the walk but without causing the weapon to bob up and down. Having this control means that you can use your leg to affect a change of direction or kamae. When wearing daisho and using a large weapon such as yari or naginata, you can use the swords as another point of contact for the shaft of the weapon. KAMAE Seigan no Kamae Legs as in Ichimonji (left hand forward), naginata is held with the left arm bent and the elbow tucked into the left side at the hip. The right hand holds the naginata at the right hip. The point of the naginata aims at Uke’s eyes and the body is turned side-on with the naginata flat across the hips. Naka Seigan Same as in Seigan, above, but the left hand lifts the haft up to just under the armpit (so that the haft is horizontal) and the hand is open and rests gently against the side of the haft. Tenchi No Kamae Hold the Naginata vertical, blade end in the right hand. The right foot forward, the knee is bent. Lean slightly forward. Gyaku Ihen No Kamae Same as Bojutsu Ihen, except that Naginata (blade forwords), is held diagonal across the chest. Ichimonji no Kamae The Naginata ls held horizontal on the right side of the body. Hasso Stand upright with the heels close together, the left foot points at Uke and the right foot points to the right. The naginata is held vertically on the right side of the body with the right hand at the top at kasumi height, the left hand is held lower at roughly butsumetsu height. The blade is facing Uke. Hasso (Henka) Legs are as in Ichimonji (Taijutsu), left foot forward. The naginata is held on the right side of the body (away from the body). The butt end of the haft angles down to the front and the blade angles up and to the rear (cutting edge facing Uke). The height of the hands is the same as Hasso above). Hira Ichimonji Stand facing Uke with arms and legs about shoulder width apart. The Naginata is held infront of the body with the blade on the right hand side (cutting edge either up or down). The left hand is palm down and the right hand is palm up. Yoko Hira Ichimonji Exactly the same as Hira Ichimonji, above, but Stand with your left side facing Uke. Gedan No Kamae Right foot is forward and points at Uke, left foot points to the left. Legs are apart with most of the weight over the right knee.The blade-end of the naginata is held in the right hand (palm up) and points down at Uke’s feet. The butt-end is tucked under the left armpit (left hand is palm down). Note: The butt end can be tucked under the left armpit and secured in place by the left arm which hangs down. BASIC CUTS From Hasso (Jisen Gata), bend the lead knee forwards as if pushing the base of the Naginata in the direction

of Ukes lead foot. Step forwards and cut with Kesa Giri. Kesa Kiri Cut from the shoulder down to the oppersite hip Ura Kesa Kiri Cut up from the hip to the oppersite shoulder. Do Kiri Cut across the waist above the hips, but below the ribs.

WAZA Nagi Taoshi Tori stands in Hasso no kamae. Step forward, and cut Uke upwards from his left hip to his right shoulder (This is Gyaku Kesa Giri, it is one of the most important cuts with the naginata). Switch step, and cut the other side. Practise this both sides, stepping forwards, backwards, and doing switch steps. Sukui Age Take up position by spreading your legs back to the right at an angle and dropping your hips, in Yoko Ichimonji no kamae. It depends on how the opponent makes their move. If they step forward and come to cut in, pull back your left leg and cut up the enemy’s left side with the naginata. If they remain still, move forward with your right leg and cut upwards from their left armpit.At the same time, take the initiative and move forward with your left leg, cutting upwards from their right armpit. repeat this many times. There is a Kuden. Hataki Taoshi In Hasso no kamae. If the opponent is in Seigan, pull back your left leg and cut down onto the enemy’s left wrist from the left. If the opponent is in Daijodan, step forward with your right leg and cut into their left armpit. Turn your wrist and cut back to their right hem, then turn your wrist and cut into their left shoulder. Pull back one step to the original position, in Hasso no kamae. There is a Kuden. Ashi Barai Hira Ichimonji no Kamae. The enemy is in Daijodan with a sword, and comes to cut in. Receive this by sticking your left hand out high above your head, and bending your right arm. In this form of block, you will cause the enemy’s sword to flow away to the right. At the same time, turn your wrist, pull back your left leg, sit down and sweep the enemy’s right leg, turn your wrist and at the same time sweep their left leg. Pull back a step - Zanshin. Change into Yoko Ichimonji. There is a Kuden. Hane Taoshi Seigan no kamae. the Uke is also in Seigan. You turn to the left, and the enemy tries to strike in. Turn your wrist and cut into their neck from the right shoulder, then once more turn your wrist over and cut down from the left shoulder. There is a Kuden. Kiri Dashi Naka Seigan no kamae. In response to the enemy’s Daijodan, move your left foot back, in Seigan. Whilst showing that you are retreating, turn to the left, turn your wrist and cut into the enemy’s left torso, then instantly turn to the right, turn your wrist and cut into their right torso. As above, this techniqueshould be sent out (Kuri-dasu) as suits the ebb and flow of your bodies. There is a Kuden. Zango Nagi Take up position in Hasso. There are several enemies, behind and in front of you. From the left, cut back to the right, and use the way the right arm is sent back to cut instantly to the right. When done quickly, this is called Naginata Furimawashi Kirikaeshi. Use this to cut into the midst of the enemy. There is a Kuden. Sashi Chigai In Hira Ichimonji no kamae. in response to the enemy’s Daijodan, thrust with the Naginata’s side blade, then turn your wrist and sweep their hem; once again, thrust in with the side blade, turn your wrist and sweep their hem; defeat the enemy by doing this several times. There is a Kuden. Tobi Kiri Position yourself in Hasso. If you cut in to the enemy’s left torso, use the reaction from this to leap to the left;

if you cut in to their right torso, leap to the right; in other words, cut them as you leap past (Tobi-chigai - cf. Iki-chigai). There is a Kuden. Techiques 1.Tori is in migi seigan but has his weight far forward over the right knee (to threaten uke), tori’s right hand holds the naginata as near to the blade as possible - preferably just behind the tsuba. Uke is in Daijodan with katana. Tori moves the blade slightly to his left to give Uke an opening to cut - this can be done from stationary or while Uke and tori circle each other. If Uke cuts before Tori provides an opening, tori lets go with the right hand so that the naginata blade drops on Uke’s foot. Uke sees the opening and steps forward with jodan giri. Tori steps out to his left with the left leg and throws the butt-end of the naginata (with his left hand) in an anti-clockwise arc to strike Uke across Do (the chest/stomach). Tori then then jams the butt into the floor either to the inside or outside of Uke’s right foot and steps forward with his right leg to strike Uke’s head with the naginata tsuba or haft/fist. N.B.The vertical position of the naginata haft prevents Uke from cutting do giri to Tori as Tori moves in. Tori then moves back left with the left leg into seigan which has the effect of cutting the back/side of Uke’s neck as Tori withdraws. 2.Tori is in Migi Seigan (weight fairly central and knees well bent). Uke is in Daijodan with katana. Tori moves the blade slightly to his left to provide an opening. Uke cuts jodan giri. As soon as Uke begins the cut, Tori leaps up (and slightly to the outside of the cut) to change legs and hands so that the left foot and left hand is now forward. As Tori comes down from the leap he brings the blade down onto the right side of Uke’s neck (Uke’s right) with a slight forward push of the naginata blade to cut and move Uke back slightly. Tori then moves his weight forward over the left leg to cut down onto Uke’s right kote (right down to the ground), this will cause Uke to lean forward. Tori the moves his weight back over the right leg to bring the point of the naginata blade (citting edge still facing downwards) up to pierce Uke’s throat. Tori then steps to the right with his right leg which (with right hand pressed against right hip) makes the blade-end of the naginata cut across Uke’s throat from right to left from where it pierced the throat. N.B. turn the blade horizontal with the cutting edge facing the left. Practise attacking other areas in this way instead of the throat. Bear in mind the weak points in Uke’s armour. Note: When Tori does the leap he does not move forwards or backwards. The leap is used to change sides, avoid the cut to the outside and provide extra downward momentum behind the initial cut. This cut would be continued all the way down to the floor if the technique was done for real. In training this is done in two stages, stop at the neck and the do a second downward cut onto kote. Henka Tori is in Migi Seigan, as above, facing Uke #1. Uke #2 is to Tori’s front right. Both Uke #1 and #2 are in Daijodan with Katana. Tori provides an opening and Uke #1 attacks jodan giri. Tori does a switch-step leap to avoid to the outside and cuts Uke #1 on the right side of his neck. Tori then shifts weight forward over the left leg to cut down onto Uke #1’s kote, this also provides a target of Uke #2. Uke #2 cuts down jodan giri. Tori shifts back right with the right leg and cuts Uke #2 Do giri from left to right. Continuation After the Do giri, Tori hooks his left hand underneath the naginata haft (hand in a fist) to support the righthand side of the haft. Tori then pivots his hips anti-clockwise and hooks the back of the naginata blade behind Uke #2’s neck. N.B. keep the right hand pressed against the right hip when doing this. Henka To do the Do giri against Uke #2, tori can turn clockwise and pivot the naginata across his stomach or hip (let go with the left hand).

BISENTO (Beatle Halbeard) KOTSU When using the Bisento you must use smooth supple movements due to the extreme weight of the weapon. You must use the body rather than using the hands alone. 1. Use the flow of the Bisento’s weight to keep control of it. 2. Take advantage of the weight of the Bisento to aid your movements. 3. You must make good use of your Taijutsu. Keep good control of your Knees and spine. KAMAE

Seigan No Kamae This is the same as Bojutsu Seigan no kamae, but it has the blade forwards pointing towards Ukes face. Hasso No Kamae This kamae is the same as the Bojutsu Tenchijin no kamae. The blade is at the top. The cutting edge of the blade faces to the right Ichimonji No Kamae This is the same as the Bojutsu Ichimonji no kamae, with the blade forwards. Yoko Ichimonji no Kamae, is Ichimonji no kamae, done diagonally. WAZA Oburi - Deep And Broad Swinging Hidari Seigan no Kamae. Step back to Hasso, then step in with the right foot with a r-l Do Uchi or Kasumi Uchi. Maintain a Seigan no kamae. Bring the Bisento blade back to the right to the rear, rotating it over head to bring it to the left for a L-R cut (the Bisento is tucked under the right arm pit). Unwind the arms for the Bisento to come back across to the left then straight down for a Jodan Kiri. Notes: Bringing the Bisento back to Hasso is a movement in itself, as if winding up for the first cut. Make good use of the knee’s and spine. Make the spine almost arch when you bring it back, but too far which may cause you to fall backwards or damage the spine.. Each movement when complete then starts afresh. Almost as if you have wound up a spring in doing the cut then releasing it for the next cut. For this techniques the Seigan is on the left side. Kaku Gyaku - Parting Reversal Keep the elbows tucked in with the Bisento in one hand (right) almost vertical. Hold it so that you can tilt it left or right. With the elbow tucked in this is your pivot. Use the left hand to pull the lower part of the Bisento up. Use this movement to aid the flow of the Bisento as it cuts down. Turn the Bisento over in front of you and cut on the other side. Notes: By placing the left hand below the right , with the right at the pivoting point you may drop the Bisento blade down as the weight of the blade makes this technique do it on its own. The main point is to keep the elbows tucked into the ribs and letting the Bisento drop by it’s own weight. Chikusha - Bamboo Diagonal Have the Bisento in Hasso no kamae and cut with a Kesa Kiri. Then lift the Bisento vertical and switch it over tot he other side. With a switch step cut down with a Kesa Kiri. Notes: Switch the Bisento from one side to the other by having the hands do the switching close together at the balance point. The upper hand holding the shaft at the point of balance. When doing the switch step the knees come together. This keeps the back straight and vertical and the weight central. When you switch step backwards, the lead knee is then bent to help with the balance as you cut down. If the distance is wrong you may step forwards when you switch step. You may rest the Bisento on the shoulders between cuts. When you hit draw the Bisento back to cut. You do not need to push down on the shaft too much as it’s own weight will aid with the cutting motion. Namiba - Wave Blade This techniques is the same as Chikusha but with it’s own differences. Hold the Bisento a little more relaxed and use an explosive body action when you advance into your opponent. You may hold the Bisento on your shoulder to take some of the weight as you move forward. Batto - Drawing A Sword Hold the Bisento in Ihen no kamae. As you advance rapidly, jab at Ukes feet with the Ishizuki, do this a few times then cut down with a Kesa Giri. Tori then rotates the Bisento over the head, and cuts down on the left side of the neck with a Kesa Kiri. Notes: Pull the Bisento into he body as you cut. If the Bisento is resting on the shoulders at the start you may still jab by using your Taijutsu and keeping the Bisento still resting on your shoulders.. Even if Uke blocks your jab you may still drop the Bisento forwards into him. If you don’t cut him it may still take him down with weight alone. When doing this if he lifts his sword you may trap his arms against him between the shaft and his

body. If he uses his sword to try and block the Bisento the Bisento should cut through his sword. You may also drop onto one knee when you jab. Gisen - Sunlight Tip Migi Seigan (or Chudan no kamae) Move in with Yoko Aruki steps raising the Bisento as you move forwards. Uke is in Seigan and knocks the Bisento to your left. Using your spine and no step bring the Bisento back in to cut L-R cutting into the waist. Turn the Bisento over onto the right (the shaft is still on the left side) and cut with a R-L Do Kiri or cut to his legs. When his down cut at him with the Bisento. Notes: For the L-R movement the left knee is bent facing to the left, but turn the body from the hips keeping the back straight. Hold the Bisento tight into the left hip. Shinto - Stretching Sword With a Hidari Gedan no kamae, swing the Bisento up keeping the arms straight (the swinging motion is like a swinging pendulum) then step across to the left with the left foot, and as the Bisento comes down in an arc, cut across to the right with the Bisento. The movement looks like you will cut to the right rear. Notes: Rise and cut across in a single motion. Brace the shaft across the top of the right thigh. When you swing up he may and try and knock the Bisento to the side. Step to that side, and come back in with a cut. Seito - Clean Sword Migi Ichimonji no kamae. Rotate the Bisento in front of you to a Hidari Ichimonji, and bring the left leg across to the rear of the right foot. At the same time lift the Bisento up, then quickly drop it down on top of the hands. Notes: Depending on how you intend to cut you may lift the left leg up to aid balance. You may lift the Bisento slowly, but you must drop it rapidly, using the Bisento’s weight to help you. Miken - Bewitched Sword Holding the Bisento in Hasso, using the Spine, jump forwards a single step, and cut with a Gyaku Kesa Giri. Turn the Bisento over onto the left side and repeat the jump and cut. Notes: When you jump against a sword cut you may sue the raised shaft from the start of the Gyaku Kesa Kiri to block his downward strike. Then cutting up into him. The downward sword cut may also speed up the Gyaku Kesa Kiri.

HANBO KAMAE Katate Yaburi No Kamae Stand as in Dakentaijutsu Hira no kamae, with the Hanbo held in both hands in front of the body. Also called Hira Ichimonji No Kamae Munen Muso No Kamae Stand as Katate Yaburi no kamae with the Hanbo held in the right hand, vertical. It is held at the top, with the bottom end on the ground. Otonashi No Kamae Same as Katate Yaburi, with the Hanbo held in both hands to the rear of the body. BASIC MOVEMENTS Naname Ushiro Omote Waki Uchi (“Moving diagonally back outside his attack and striking the side”) Stand facing your training partner in Katate Yaburi No Kamae. Start the basic movements from this posture. Your partner punches straight to your face with his right fist. Step to your left rear with your left foot and slide your right foot a little to your left, and at the same time swing the stick to strike him across the solar plexus. As you step with your left foot, your left hand must slide to the end of the stick, and as you swing the stick, your right hand must slide a little towards the left-hand end. This co-ordination of foot movement and hand

sliding applies to all the basic movements except No.8. You should strike not so much with your hands and arms as with your whole body. After the completion of the movement, both you and your partner return to your original positions. He then attacks with the other fist. Whenever you strike you should try to make contact with the last 5 or 6 inches, where the maximum power is concentrated. Continue with Tsuke Iri. Naname Mae Ura Waki Uchi (“Moving diagonally forward inside his attack and striking the side”) Your partner punches straight to your face with his left fist. Step to your left with your left foot and swing the stick to strike him accross the left ribs. Continue with Koshi Ori. When you are familiar with these two movements, practice them together. He attacks with his right fist, you step to your left and apply No.1. He attacks with his left fist, again you step to your left and apply No. 2. Naname Mae Omote Waki Uchi (“Moving diagonally forward outside his attack and striking the side”) Your partner punches straight to your face with his right fist. Step to your left front with your left foot and slide your right foot in the same direction and strike him across the right ribs. Continue with Kyokotsu Kudaki. Mawashi Kote Uchi Omote (“Rotate the stick and strike the wrist, outside his attack”) Your partner punches straight to your face with his right fist. Step to your left or left rear with your left foot and slide your right foot a little in the same direction. At the same time move the right-hand end of the stick in a clockwise movement and strike down on his wrist. When he attacks with his left fist, the movement of the stick will be anticlockwise. Continue with Gyaku Ude Garami. Mawashi Kote Uchi Ura (“Rotate the stick and strike the wrist, inside his attack”) Your partner punches straight to your face with his left fist. Step to your left rear with your left foot and move the right-hand end of the stick in a clockwise movement and strike down on his wrist. For a right fist attack the left-hand end of the stick must be moved anticlockwise. Continue with Koshi Ori or Ganseki Otoshi. Kote Uchi Omote (“Strike the wrist, outside his attack”) Your partner punches straight to your face with his right fist. Step to your left with your left foot and withdraw your right foot in an arc to your left rear. Strike down with the left end of the stick onto his wrists. Continue with Ganseki Otoshi Garami. Kote Uchi Ura (“Strike the wrist, inside his attack”) Your partner punches straight to your face with his left fist. Withdraw your right foot in an arc to your left rear at the same time pivoting a little on your left heel and strike down onto his wrist. Continue with Ganseki Otoshi. For further practice it is possible to work combinations of the basic movements, for example; your partner attacks with his right fist, you apply Mawashi Kote Uchi Ura, No.5. he immediately follows up with a left-fist attack, you withdraw your right foot and strike down on his left wrsit with the left-end of the stick using Kote Uchi Ura, No.7. He attacks again with his right fist, you withdraw your left foot, sliding your left hand to the end of the stick , and strike down on his right wrist with the right-hand end of the stick, again using No.7. He attacks again with his left fist, you use No.5 striking down on his left wrist with the right-hand end of the stick. You will notice that the movements in which you come inside your adversary’s attacking arm or in other words the “Ura” movements leave you vulnerable to a continuation of his attack. Consequently Basic Movements 2, 5, 7 and 8 should always be practiced with a combination in mind. This may be a combination of some of the Basic Movements or it may simply be a jab with the end of the stick to your adversary’s face or ribs to better prepare the way for your application of a technique. Kata-Te Tsuki (“One-hand thrust”) Your partner punches straight to your face with his left fist. Release your right-hand hold on the stick. Step to your left front with your left foot and draw your right foot back a little, and thrust with the point of the stick to his chin or solar plexus. WAZA Shoden No Kata Tori is in Katate Yaburi no kamae. Uke attacks with a Shoto. Katate Uchi (Single Strike) Uke has the Shoto in the right hand. Uke steps forward with the left foot, and grabs the collar with 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 the left, and steps behind the right. Tori brings the Hanbo up striking just above the elbow on Ukes grabbing arm Tsuki Otoshi (Strike And Drop) 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. Uchi Waza (Hitting Technique) 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 Nagare Dori (Flowing Drop) Uke steps forward with a Tsuki. Tori steps forward with the right foot, on Ukes inside. Tori releases the left hand. With the 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. Kasumi Gake (Haze Trap) 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. Iki Chigae 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. Kao Kudaki 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. 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. Ate Kaeshi 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. Saka Otoshi 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. Chuden No Kata Tori is in Munen Muso no kamae Uke attacks with a Daito Kote Gaeshi (Hands Against) 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. Saka Otoshi

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. 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. 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. Okuden No Kata Tori is in Otonashi no kamae. Uke attacks with a Daito. Hane Otoshi (Jump And Drop) Uke cuts with Jodan Kiri. Tori steps out to the left and rolls the right end of the hanbo until the right palm faces forward, then raise it to the right shoulder and strike holding it in the right hand (kuri kaeshi) to the Kote. For Kuri Kaeshi see Jutte book P.31. Kuri Kaeshi means - dried chestnut 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 Age uchi to Rin. Kote Harai (Disposing Of The Hands) 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.

JO

Shoden No Kata Jumonji (The cross) Tori is in Ihen no Kamae, Uke is in Seigan no Kamae. Tori steps forward with the right foot. As he steps he pushes down with the left hand, and releases it. The right hand rotates the Jo vertically over, with the right hand catching the end to strike Ukes Kasumi. Tori shifts his left leg across to the rear of the right leg, and drops the Jo down in a crescent to strike Ukes Butsumetsu (no right step). Tori shifts the left leg across to the left, and does a switch step, and strikes to Ukes kasumi on the other side (Tori does this from a left Gedan). Tori pulls the Jo back to Gedan on the right (hold the Jo with the hands together Thumbs in the middle touching at the very end off the Jo). With a left step forward, Tori over his head clockwise (not moving the hands to strike Ukes temple (on Tori left). Toris right elbow is in the air with the right hand upside down the wrists are crossed). Slide the right hand to the middle of the Jo, release with the left hand rotate the Jo over head. Step forwards with the right foot, catch with the left foot, and strike to kasumi, or Butsumetsu. Note: This is similar to Bojutsu "Goho". When you have a good flow, Uke will not be able to keep up a defense. Roppo (Gedan Nagashi) (Six ways) Tori is in Gedan, and does a right step forwards, and does a Kasumi Uchi. Uke jumps back to avoid this strike. The strike continues past Uke, and Tori releases with the right hand. Uke stops the Jo when it rests across the top of the shoulders. Tori takes hold of the Jo in the right hand (both hands hold the Jo, one at each end). Tori releases the left hand, so that the Jo flips around for a Yoko Men Uchi to Kasumi. The left

hand catches the Jo on impact. The left releases the Jo, and the right rotates the Jo to the right side of Tori. Uke comes in from Daijodan, and Tori does a Tsuki to finish. Note Tori can drop to the knee for the Tsuki. To cushion the Jo across the shoulders, drop the weight onto the left leg. This technique can be seen on the old video "Ninja secrets of the Grandmaster" Kyuho (Nine ways) Tori is in Chudan. Tori does a right step forwards, and a Ashi Barai, to Ukes lead leg. Tori then rocks back onto the left leg, and does Age Uchi to the groin or wrists. Tori pulls the Jo back to Gedan on the left, and steps forward with the left, and does Tento Uchi (keep the weight on the left leg after the left step). Tori steps forward with the right , and strikes with Ashi Barai to Ukes rear leg (keep the weight on the left leg). Tori releases with the left hand Paddles the Jo back to Chudan with a right step back. Note Use the paddle back to knock Ukes sword away if it is close to Tori. Hiryu (Flying Dragon) Tori is in Tenchijin no kamae. Tori does a right step and a Jodan Kiri style strike with the Jo. Tori pulls the Jo back so he holds both ends of the Jo, and steps forward with the left foot, and Tento Uchi. The jo is on the right, and Tori throws a Tento Uchi forwards. Tori pulls the Jo back on the right, and with no step does a Do Uchi. Tori then does a switch step, and strikes up with Age Uchi (right hand in front). Tori does a switch step and strikes with Kasumi Uchi (left hand in front), another switch step, and a Ashi Barai, switch step, and Do Uchi to Ukes right side. Tori paddles the Jo to Chudan and finish. Note The paddle is the same as that from Roppo. Tsuki Iri Tori is in Chudan. Tori steps forward to the right Slides the Jo through the left hand, and rotating the Jo anti clockwise, strikes in a full circle, to the back of Ukes head. Tori rotates the Jo above his head, in the right hand, and strikes Uke on the same side. Tori shifts his weight onto the left leg, and slides the Jo to Chudan on the right side. Tori switches step, and slides the hands forward, and strikes with a form of tento Uchi, pulling the Jo back to Chudan on th left side. With a right step forwards Tori brings the Jo anti clockwise across the body, to strike up to Ukes left side Kasumi. Tori rotates the Jo above the head in the right hand, and strikes to Ukes left Kasumi again. Tori lets go with the left hand and regrips below the right, and strike with the Jo on top of Ukes head. Ude Gake (Arm trap) Tori is in Ichimonji no Kamae, Uke is in Daijodan, and does Jodan Kiri. Tori shifts to the left, and lifts the Jo vertical, with the right hand at the top. Tori releases the left hand, rotates the Jo clockwise, catching the other end of the Jo in the left hand, and drops it down on top of Ukes wrists. Note Strike with the edge of the Jo to the hands. When shifting to the left place the weight on the left leg. The hands slide to the ends of the Jo. As you release the Jo flip it like a spring over. Depending on distance, rock the weight back in on to the right leg. Kote Gaeshi (Hands against) Tori is in Seigan, and does a Tsuki, by shifting the left leg forwards. Tori then pulls the Jo back on the right to Gedan. Tori rocks forward on the left leg, tori rotates the Jo overhead, for a Kasumi Uchi. Note For the kasumi Uchi the hands are crossed. Tachi Otoshi (Standing drop) Tori is in Chudan. Tori slides the Jo through the hands to Tsuki. Tori then steps out to the right slightly forwards, Tori rotates / paddles the Jo in a anticlockwise motion to strike the back of the head, Tori then does a over head Do Uchi. Tori steps back with the right foot. He the steps forward and repeats this without the Tsuki. A third attack is undertaken, but instead of the overhead Do Uchi, Tori slides the right hand to the middle of the Jo (jo is on the left), rel;eases the left hand, the right hand rotates the Jo vertically for a Tento Uchi. Note When doing the paddling aim for the back of the head, or if Uke moves back strike down on top of the wrists. When it is done the third time the final attack will surprise Uke, as he expects you

JUTTE JUTSU Jutte Karada Kamae Muso No Kamae The feet are shoulder width apart, and the hands hang loosly down by the sides of the body. The Jutte is in the right hand. Suicho No Kamae (Mizu Tori no kamae) The left foot is forward, and both knees are bent. Theleft hand is in Fudo ken and is just to the right of the left knee. The Jutte is in the right hand, pointing straight down, at the side of the right knee. The body slightly leans forward. The postur is low,and looks strong. Ichi No Kamae The body is the same as Suicho no kamae. The left hand is on the out side just above the knee. The right arm is straight out at shoulder height pointing forwards with the Jutte pointing straight at Ukes throat. Seigan No Kamae This is the same as Ichi no kamae, except the Jutte is pointinmg at Ukes eyes. Ten No Kamae The body is the same as Ichi no kamae, except the right foot is forwards. The Jutte is in the right hand. The right arm is up in front of the body with the forearm vertical. The Jutte points to the rear, at 60 degrees. All Kamae except Muso, are squat, and low down with plenty of strength in the thighs \ legs. Muso gives the impreesion that you are relaxed, and do not pose a threat.

WAZA Kiri No Hitoha (Leaf of the Paulownia tree) Jutte book P.166 Uke is in Daijodan, and does Jodan Kiri. Tori is in Seigan no Kamae, with the Jutte in the right hand. Tori steps to the right to avoid the cut. Tori the strikes the right side of the neck with the Jutte, and takes the sword hand with is left hand. The tip of the Jutte is placed under the arm. Pull on the right arm, and push the Jutte into the armpit to restrain Uke. Note When he strikes with the Jutte, strike with the tip. Or with the area with the area of the hook, and shove it in. Rakka (Falling Petal) Jutte book P. 167 Tori is in Seigan no Kamae, Uke is in Daijodan and does Jodan Kiri. Tori steps to the left, and traps the sword in the Yokoha (Hook). Tori then steps to the right, and does a Yoko Aruki forwards with the left foot. As he does this Tori lifts the right elbow, and as he steps forward with the right foot, drops the right elbow down over the arms trapping Uke. As he does these movement Tori is turning the blade over. Tori does a right kick to the groin, and takes the sword handle with the left hand. Tori then does Yoko Aruki away taking the sword with him. Note To trap the sword blade the hook must point towards the eyes, and the thumb must be on the other side of the the hook to act as a brace. Gorin Kudaki (Breaking the five circles) Uke is in Daijodan, and cuts with Jodan Kiri. Tori is in Seigan, and steps across to the right, and strikes the top of Ukes hands with the Jutte. Uke drops the sword. Tori then does a Tsuki to the stomach, holds Ukes left hand with the right and drops him to the ground. Mizu Tori Uke is in Daijodan, and does Jodan Kiri. Tori is in Hira no Kamae with the Jutte in the right hand. Tori steps back with the left foot, so that he is on the inside of the cut, at the same time he traps the sword in the hook. The left hand comes up behind the Jutte until the shaft of the Jutte lies in the open palm. Tori the steps

forward with the left foot, so that he is now on the out side of the Jodan Kiri. As he steps the left hand pushes the Jutte down until it is horizontal. The left hand take hold of the Katana handle. Tori steps back with the left foot, and steps forward with the right foot, and strikes with the Jutte to the top of the head. Mawari Dori Uke starts in Dai Jodan No Kamae with the Sword and Tori starts in Seigan No Kamae with the Jutte hidden behind the right leg - the right hand holds the Jutte upside down so that it lies along the forearm. Uke attacks with a downward cut. Tori steps forward and to the left with the left foot and raises the right arm up to block Uke’s attack with the Jutte. Tori steps forward with the right foot to raise Uke’s Sword up and then turns underneath clockwise. Tori strikes with right Soku Yaku Ken into Uke’s hands - to dislodge the Sword. Tori places the Jutte against the right side of Uke’s neck (or right ribs) and grips the end of it with the left hand and then, while turning clockwise, pulls inwards to apply a constriction on Uke’s neck. Raisen Ryu Shita Midari Hana -

TESSEN WAZA Kocho (Small butterfly) Uke draws his sword to cut Tori with Do Giri. Tori moves to his left and holds Uke’s right hand with his left. Tori then uses the tessen in his right hand to hit the back of Uke’s right hand. Tori moves behind Uke and uses his left hand to grip Uke’s left Jakkin and presses the tip of the tessen onto Uke’s chest to take him to the ground and restrain. Shuko Kudaki (Breaking the back of the hand) Uke does a chudan tsuki with his sword. Tori avoids to his left and srtikes the sword (or Uke’s hand) with the tessen. Tori then strikes Uke’s kasumi with the tessen and applies pressure to Uke’s temple to restrain. Kasumi Jime (Tying up the fog) Uke does chudan tsuki with his sword, from Seigan no Kamae. Tori moves to his left and hits the side of Uke’s sword blade upwards with the tessen from underneath. Tori then moves in close behind Uke, places the tessen against Uke’s left kasumi and applies pressure with the aid of his left hand. Tessen Dori Apply various forms of Take Ori, or Bar the arm under the arm pit, and trap the remaining part of the arm with the Tessen. Practice holding the Tessen in each hand, while holding Uke trapped. Note This is good for applying pressure to Ukes arm if hwe tries to wriggle free. Use the side or the end of the Tessen to apply pain. Kakae Dori Uke grabs your wrist. Place the Tessen over Ukes wrist, and tuck the other end under your own, and lever off. Karame Dori Do this to any limb, and cross the wrists (Jumonji), and place the Tessen on the other side of the limb. Hold the Tessen in both hands to trap, and apply pressure with the Tessen. Naeshi Ate Nagare

When Uke strikes or attacks, rake the end of the Tessen along the arms, legs, and down the body. For extra pressure, use the other hand on the Tessen. Hiki Guruma Nagare Uke strikes with a right Jodan Tsuki. Tori does a left Jodan Uke, and without stepping strikes with the end of the Tessen into Ukes other arm (Hoshi). Toris right hand goes under Ukes left arm, and the right goes to the top, and grabs the end of the Tessen. Tori then bends forwards, with his face next to Ukes back, and dropping to the right knee, takes Uke to the ground. Tessen Kurai Dori Uke is in Kasumi no kamae, Tori is in Fuko no kamae with the Tessen. Uke strikes with a Jodan Kiri. Tori shifts to th left, and strikes with a Hiki Guruma Nagare. Tessen Jutsu, Ro Ryu Uke cuts with Jodan Kiri. Tori shifts forward with the left foot, and strikes with the Tessen between Ukes hands to the face (Tessen is in a reverse grip). Tori then turns the Tessen so that it is over Ukes left bicep, and grabs from underneath the end of the Tessen with the right hand. Tori pulls on the Tessen, and takes Uke to the ground.

SHURIKEN JUTSU KUKISHINDEN RYU Hon Uchi In Doko No Kamae with the throwing hand raised above the shoulder. The throwing hand is propelled towards the target. Palm forward. Gyaku Uchi The shuriken is held palm down at waist level. The arm rises up and across the body to shoulder height and throw. Palm down when throwing. Yoko Uchi Very similar to above only the throwing hand starts at the back shoulder and comes horizontally across and throws. The palm is always kept downward in this throw. Bo Shuriken Holding the Shuriken Hold a single pointed bo shuriken so that the blunt butt-end rests in the centre of the palm of your hand. Your fingers are straight and the shaft of the shuriken lies along the length of your middle finger with the pointed end of the shuriken extending beyond your finger-tips. Fold the thumb in towards the palm so that it gently holds the shuriken in place. Hon Nage Stand like in hidari Doko No kamae with a bo shuriken in the raised right hand. The right hand has the palm facing the target. The palm is then sharply “pushed” at the target and the bo shuriken is allowed to slide out. Don’t point the fingers at the target as this will cause the shuriken point to dip - point the palm at the target. N.B. At close range the shuriken point should be near the finger-tips, at middle range the point should be in the palm, at long range the point should be near the fingertips again. Short range - shuriken does not rotate as it flies to the target. Middle range - shuriken rotates 180 degrees. Long range - shuriken rotates 360 degrees or more depending on the distance. To improve accuracy of how the point rotates as it goes to the target you can move the bo shuriken up or down the hand. The normal generic throw would have the butt of the shuriken resting in the centre of the palm of the hand. For close range you would move the shuriken up the hand (towards the fingers) and for

long range you would move the shuriken down the hand (towards the wrist). Use Hon Nage when you can set up your attack, i.e. if you have time. Yoko Nage Start with the legs in migi Ichimonji with the right hand holding the shuriken (palm down) at the left shoulder. The arm is sharply snapped towards the target and the shuriken is released with the palm facing the target the hand therefore turns anti-clockwise so that the shuriken is “palm-pushed” towards Uke. Gyaku Nage Same as Yoko Nage but the right hand begins at the left hip rather than at the shoulder. Use Yoko and Gyaku Nage as you turn towards your opponent. Ushiro Nage Stand with your back to Uke. Step forward with the left leg and simultaneously swing the right arm backwards (with the palm facing towards Uke) - the throwing arm stays close to the side of the body (do not open up the armpit, swing with a backward sanshin motion). The shuriken is released with the finger-tips pointing at the target and the palm facing Uke. Throughout the Ushiro Nage you have your back to Uke. Use Ushiro Nage if Uke is behind you and you don’t want to turn towards him to throw.

TOGAKURE RYU Bo shuriken Holding the Shuriken Hold a single pointed Bo Shuriken so that the blunt butt-end rests in the centre of the palm of your hand. Your fingers are straight and the shaft of the Shuriken lies along the length of your middle finger with the pointed end of the Shuriken extending beyond your fingertips. Fold the thumb in towards the palm so that it gently holds the Shuriken in place. HON NAGE - Principle throw Stand like in Hidari Doko No kamae with a Bo Shuriken in the raised right hand. The right hand has the palm facing the target. The palm is then sharply “pushed” at the target and the Bo Shuriken is allowed to slide out. Don’t point the fingers at the target, as this will cause the Shuriken point to dip - point the palm at the target. At close range the Shuriken point should be near the fingertips, at middle range the point should be in the palm, at long range the point should be near the fingertips again. Short range - Shuriken does not rotate as it flies to the target. Middle range - Shuriken rotates 180 degrees. Long range - Shuriken rotates 360 degrees or more depending on the distance. To improve accuracy of how the point rotates as it goes to the target you can move the Bo Shuriken up or down the hand. The normal generic throw would have the butt of the Shuriken resting in the centre of the palm of the hand. For close range you would move the Shuriken up the hand (towards the fingers) and for long range you would move the Shuriken down the hand (towards the wrist). Use Hon Nage when you can set up your attack, i.e. if you have time. YOKO NAGE - Side throw Start with the legs in Migi Ichimonji with the right hand holding the Shuriken (palm down) at the left shoulder. The arm is sharply snapped towards the target and the Shuriken is released with the palm facing the target the hand therefore turns anti-clockwise so that the Shuriken is “palm-pushed” towards Uke. GYAKU NAGE - Reverse throw Same as Yoko Nage but the right hand begins at the left hip rather than at the shoulder. Use Yoko and Gyaku Nage as you turn towards your opponent. USHIR0 NAGE - Rear throw Stand with your back to Uke. Step forward with the left leg and simultaneously swing the right arm backwards (with the palm facing towards Uke) - the throwing arm stays close to the side of the body (do not open up the armpit, swing with a backward Sanshin motion). The Shuriken is released with the fingertips pointing at the target and the palm facing Uke. Throughout the Ushiro Nage you have your back to Uke. Use Ushiro Nage if Uke is behind you and you don’t want to turn towards him to throw

Senban Nage A special way to stop a shuriken shining was to wrap it in silk and put it in a fire. This made the shuriken black and rustproof. Target areas include the area between the eyebrows, the upper lip, the throat, the heart, the abdomen, the thigh and the foot. It is important to attack with the shuriken when the enemy is off guard; when he is surprised or scared is the time to escape. The Togakure Ryu Ninja carried shuriken in sets of nine. To throw the Shuriken, throw with a snapping action of the hand. Senban Zengo Jiyu uchi 1.Combine the throwing action, to throw to the front. 2.To throw to the rear, face front in Yoko Aruki (right foot to the rear), The right hand comes across the front of the body, to throw the Shuriken to the rear. Look to the rear. Note For (2), the throw is the opposite to (1), sort of in a pushing motion. Hold the Shuriken in the left hand, in Ichi no kamae. Standing in Ichi no kamae, with the Shuriken in the left hand, and taking the Shuriken in the right hand, and throwing turning the palm upwards. The thinner the blade the better the blade will fly and cut. A rusty blade does not give the appearance of a weapon, and will also aggravate the wound when it cuts. When you learn to throw Shuriken you must also learn the attitudes of Totoku Hyoshi no kamae (Sword cover catapult shape posture). This is used to repel Shuriken with a sword blade. ITA KEN This is a flat double pointed metal throwing blade. The pointed edges are sharp along the sides. It is held in the hand similar to the way that you hold the Bo- Shuriken, with the thumb almost in the central position. The spare Ita ken are held in the left hand. The posture for throwing is Doko no kamae or Ichimonji no kamae. When throwing the rear leg steps forward, and the raised hand moves forward at the same time, releasing the Ita ken towards the Target with the palm up. You can also throw without a step, depending on distance.

KUSARI JUTSU

TOGAKURE RYU KYOKETSU SHOGE The Togakure Ninja had a very special and unique weapon that is found exclusively within this ryu. It is called the kyoketsu shoge. It is thought that the kyoketsu shoge was developed before the kusari gama. It has a cord 9 - 18 feet long with a metal ring 4 inches in diameter attached to one end. At the other end of the cord was a double-edged knife with a hooked secondary blade protruding at a right angle to the main blade. The kyoketsu shoge was used for slashing, pulling, thrusting, stabs, etc. Additionally, it could also be used for climbing, ensnaring the enemy, setting traps, the raising or lowering of equipment and also as a grappling hook.. The weapon was highly effective against horses when it was twirled above the head. The long cord was usually made from women's hair but horse hair was also used. This was because of the strength and resilience of hair. In battle, the hair cord would be replaced by a chain (kusari).

Preparing THE KYOKETSU SHOGE 1.Lay the Kyoketsu Shoge on the ground. 2.Loop the rope, taking care not to get it tangled. 3.Starting from the bottom of the loop, wind the rope around (working upwards) to gather the loop into a neat coil. 4.When near the top of the loop, tuck the ring end of the rope under the coil below This method of preparing the Kyoketsu Shoge allows it to be fed out without tangling. WEARING THE KYOKETSU SHOGE FOR USE The Kyoketsu Shoge (prepared as above) is worn inside the Gi jacket with the ring tucked between the Obi and the body. To use, the hook knife is pulled out first and held in the left hand. The rope is then fed out and looped in the left hand until the ring is drawn out and this is wielded in the right hand. CASTING A LOOP 5.Throw the ring end of the Kyoketsu Shoge at Uke who then catches it. 6.Stand in Doko No Kamae with the hook knife in your left hand and the rope in your right. Your body must be 45 degrees-on to Uke with the ring end of the rope lying outside of your right arm. 7.Shift your weight forward onto your left leg as you cast a loop towards Uke. This must be done like an omote shuto aimed above and to the right of your target (ie. Uke's hand which has caught the ring). 8.When the loop has settled around Uke's wrist, shift your weight back onto the right leg as you pull down on the rope to pull Uke forward. You can use your left foot to trap down on the rope to assist with this (like hicho no kamae). The same principles apply to casting a loop using ura shuto or sanshin ken - the aiming target must be varied accordingly for these, however. If Uke is wearing a sword in his obi and has caught the ring of Tori’s shoge in his right hand, Tori can cast a loop over the tsuba (blade side) and pull Uke’s sword out of his scabbard. Tori can either pull the sword towards him and use it or pull to spin Uke’s sword (the sword will spin out of the loop) – the latter can be used to injure Uke as he tries to recover his sword. TYING ONE-HANDED SLIP KNOTS 9.Hold the rope in your right hand with the palm facing upwards. 10.Open your hand and let the rope lie along the inside of your wrist. 11.Scoop your hand towards your body and downwards and catch the ring end of the rope. 12.Pull through the loop thus formed around your wrist. STRIKING WITH THE WEIGHTED END Normal taijutsu body movement is used to send the weighted end out to strike Uke, either vertically (upwards or downwards), horizontally (from the left or the right), or straight ahead (spin the weight in an circle rising upwards to the front, then step forward to send the weight forward). When doing any of these strikes, the rear hand that holds the blade and any excess rope comes forward to meet the front hand. The rope is allowed to slide through the front hand to extend out to the target. To recover, pull the rear hand back and the rope is allowed to slide through the front hand to recover the weighted end of the shoge. If you lose control of the weight and it lies on the floor, do yoko aruki, coiling the rope with the arm movement as you walk. The first coil should be held by the little finger of the left hand, the second coil held be the ring finger and the third coil (nearest the weighted end) held be the middle finger. By holding each coil in a separate finger you can give yourself more rope to work with in varying degrees by releasing individual coils rather than dropping all of them Then spinning the weighted end, the direction of the spin can be changed by "bouncing" the rope (just above the weight) off your foot. The weight can be stopped from a spin or swing either by dropping your body weight to kill the momentum or by standing on the rope (just above the weight). If you have stood on the rope and the rope is in front of your leg, the weight can be kicked forward at Uke. If the rope is behind your leg, the weight can be kicked backwards so that it swings over your head and forwards towards Uke in an arc. This is a very effective long distance or surprise strike. After a horizontal swing, allow the rope (just above the weight) to "bounce" off your upper arm or thigh to propel the weight into another strike, back along the way that it came CLIMBING WITH THE SHOGE Stand with your back to the wall or tree etc. that you wish to climb. Take three paces away from the obstacle and turn to face it. Then throw the hooked end of the Shoge up at an angle of about 60 degrees. As you ascend the rope hand over hand, gather the rope in your hands. The length of the rope should be from one hand to the other, with the arms out stretched. Use this to control the rope’s distance The Kyoketsu Shoge is also known as a Shinobibundo

It is important to use Taijutsu. Use it like a Jutte, then throw the rope so that it wraps around the Kote, and Tsuka. TSUKI TENCHI FURI (Heaven, & Earth twirl) Rising and falling strikes. YOKO FURI (Sideways twirl) Inward, and outward horizontal strikes. HAPPO FURI (Eight ways of twirling) Inward, and outward diagonal strikes. NAKA FURI (Side twirl) Forward shooting strikes. TENCHI BURI (Heaven and Earth twirl) Spinning the chain above the head. SAYU YOKO BURI (Side twirl) Spinning the chain on one side of the body. HACHIMONJI (Figure 8) Spinning the chain in front of the body in a figure of 8.

WAZA KOTE GAESHI (Hands against) Uke is in Seigan with a Katana. Tori holds the Kyoketsu in the left hand, and spins the chain in the right with Yoko Sayu Buri. Tori steps to the right, and throws the chain striking Uke’s hands with the ring. Then with Tenchi Buri Tori strikes at the legs, and pulls Uke to the ground. Tori then jumps on Uke, steps on his sword hand and cuts his neck. SHIHO ZUME (Blocking in 4 directions) Tori uses Hachiji Buri. Uke is in Seigan. Tori hits Uke on both sides of the body with the ring. Uke manages to avoid the strikes with Taihenjutsu. Tori then does Tenchi Buri, and throws the ring at Uke’s neck. Uke ducks and blocks it with the sword, but it gets caught up in the chain. Both pull on the chain. Uke advances to cut (still caught up). Tori moves to the side, blocks Uke’s cut with the sickle and cuts Uke with the blade. IWA KUDAKI (Breaking rocks) Uke is in Seigan, and does Chudan Tsuki. Tori shifts to the left and cuts Uke’s wrists with the sickle (held in his left hand), Tori then strikes Uke on the head with the ring (held in the right hand).

九紙印

Kuji-In

1




高松伝の本


九紙印

Kuji-In

2

九紙印 KUJI-IN 高松伝の本


九紙印

Kuji-In

3

九紙印 Kuji-In

臨 RIN (To look, face, meet, confront, attend, call on)

兵 PYO (Soldier, private, troops, army, warfare, strategy, tactics)

闘 TO (Fight, war)

者 SHA (Someone, person)

高松伝の本


九紙印

Kuji-In

4

皆 KAI (All, everything)

陣 JIN (Camp, battle array, ranks, position)

裂 RETSU (Split, rend, tear)

在 ZAI (Exist, outskirts, suburbs, located in)

前 ZEN (In front, before)

高松伝の本


九紙印

Kuji-In

5

九紙印 Kuji-In

Stand with your feet shoulder width apart, facing south. Bring your palms together in front of your chest & chant three times “OM NAMO BENZI” meaning Sakyamunifo & all the enlightened families. lower both palms down to your sides. then up over your head above your TENTO. Clap your palms together, & chant “OM”. Lower your palms to throat level, & chant “AH”. Continue lowering your palms down to chest level & chant “HUM”. Keeping the palms in Gassho chant the following magic formula: #NA MU HON ZON WE KAI MA RI SHI TEN RAI RIN WE KAU SONO KAU SHU GO SHIMETA MA HE #ON A JI CHIYA YA HO RI SHI YA SOWAKA Prepare to do the kuji-in hand seals in front of your chest, perform the visualizations & recite the command characters as follows:

高松伝の本


九紙印

Kuji-In

6

臨 RIN (To look, face, meet, confront, attend, call on) Dokko-In, Vajra Tibetan Thunderbolt Seal

金剛印

The intention is maintaining an unmoving & un-enticed mind, while expressing a strong spirit. By not allowing anything to disturb your training, gives you a strong spirit, which is needed to be a person with extrasensory perception.

高松伝の本


九紙印

Kuji-In

7

兵 PYO (Soldier, private, troops, army, warfare, strategy, tactics) Dai Kongo-In, Sign Of The Great Diamond

大金剛印

The intention is to express the life force for extending life & returning to the age of innocence, by developing the sea bottom chakra. The sea bottom chakra is the extrasensory location for improving health & increasing energy. This area stimulates the sex gland; & strengthens physiological, mental, & spiritual aspects, thus preventing illness from attacking your body. Training this seal gives a practitioner three to five times more energy than an average person giving a practitioner a stronger driving force, action force, & creativity.

高松伝の本


九紙印

Kuji-In

8

闘 TO (Fight, war) Sotojishi-In, Sign Of The Outer Lion

外自獅印

The intention is to be brave, determined, & courageous. When encountering difficulties, it gives you a stronger will to tackle the problem. This seal also develops the reproductive chakra – the area that eliminates fear & develops determined conviction.

高松伝の本


九紙印

Kuji-In

9

者 SHA (Someone, person) Uchijishi-In, Sign Of The Inner Lion

中自獅印

The intention is to express the power of your ability to control your own body & others bodies at will. It develops the navel chakra. When you are able to control this area, you will be able to control all other areas of your body. The practitioner who trains this area can emit fire-like energy. The extrasensory ability from your training can heal your own illnesses as well as other’s illnesses.

高松伝の本


九紙印

Kuji-In

10

皆 KAI (All, everything) Gebakuken-In, Sign Of The Outer Bonds Fist

芸縛券印

The intention is to express the ability to know & regulate the human heart, & develops the heart chakra. The heart chakra is located at your chest area. It is closely linked to the thymus gland, heart, & lungs. This area can open the extrasensory abilities of your heart.

高松伝の本


九紙印

Kuji-In

11

陣 JIN (Camp, battle array, ranks, position) Naibakuken-In, Sign Of The Inner Bonds Fist

内縛券印

The intention is to express the gathering of rich, magnanimous love & respect for all, into one’s body, showing the merciful heart of the Vairocana; & developing the throat chakra. The throat chakra located at the throat area, is very closely related to the thyroid gland. Sluggishness or vigorousness (metabolic rate) in one’s life is governed by the hormone generated from the thyroid gland. Training this area can maintain youth, & give one extrasensory hearing.

高松伝の本


九紙印

Kuji-In

12

裂 RETSU (Split, rend, tear) Chiken-In, Sign Of The Wisdom Fist

知拳印

The intention is to express the kindness of relieving other’s pain, & cultivates one’s extrasensory abilities.

高松伝の本


九紙印

Kuji-In

13

在 ZAI (Exist, outskirts, suburbs, located in) Nichirin-In, Sign Of The Ring Of The Sun

日輪印

The intention is to express the ability to use your extrasensory abilities at will & develops the third eye chakra. This chakra, located around the eye bridge & the pituitary gland, control the functioning of all the other endocrine glands in the body. This area is very important in both Daoist & Buddhist cultivation. Developing this area is very critical to achieving special & extrasensory abilities.

高松伝の本


九紙印

Kuji-In

14

前 ZEN (In front, before) Ongyo-In, Sign Of The Concealed Form

隠形印

The intention is to express a state of Buddha – a supernatural state, & develops the crown chakra; & produces a brilliant luminosity in your brain. This area controls all other areas. During training don’t think about anything or recite any mantra. You should be in a state of no imagery & no thought (Mu).

高松伝の本


九紙印

Kuji-In

15

Separate & lower both palms down & up to your sides, until shoulder level with your palms facing down. Then circle both palms forward, bend your elbows, & bring your palms next to your chest, while maintaining your palms face down. Rotate your palms until they are facing your chest & point your fingers toward the centre of your chest. Lower your palms down to your Dantian (HARA) with your fingers still pointing inward. Straighten your palms & place them over the bottom side of your ribs for 1-2 minutes or until you feel the Ki sensation at your liver area. Next move your palms in circular path, three times. Continue from above, turn your palms until your palms are facing up. Lift your palms up until shoulder level, then rotate your palms until they are facing out & push forward. Bring both palms back together in front of your chest, fingers pointing up next to your chest. Change your palms into the inner bonds fist. Hold that posture for a few seconds, then thrust the seal forward until your arms are straight. Separate your palms to your sides with your palms facing down. Rotate both palms up & begin raising them up. When your palms are about shoulder width apart, clap them together (the louder the better) over your head & keep them together. Make the RIN seal above your head. Lower this seal down along the centre line of your nose, inhale, & silently recite the word Rin. Continue lowering this seal until it is in front of your chest. Visualize that the life force of the cosmos is wrapping around your body. You have been transformed & you have become the Vajrasattva. Even the strongest wind from all eight directions can’t move you. Nothing can puzzle you; & your wisdom is boundless & limitless (breathe naturally during the visualization). Chant The Mantras: #OM BORULAN ZHELI #OM FURILUO SADUOFU AH KANG #ON BAI SHIRA MAN TO YA SOWAKA As you exhale, point the seal forward & extend your arms until they are straight. As you straighten your arms, change the seal into PYO, the sign of the great diamond. As you are completing the extension of your arms & changing the seal, lift your right foot up, stomp down,

高松伝の本


九紙印

Kuji-In

16

& recite PYO. Then raise your left foot, stomp down, & recite PYO. Bring the seal back next to your chest & point the seal upward (during combat keep the seal pointing towards your strong adversary). Visualize that you are using the three esoterics to become one with the wrathful meditational deity. Your face is expressing the enraged look of this meditational deity, ready to destroy all your strong evil adversaries & obstacles (breathe naturally during the visualization). As you exhale, raise the seal up along your nose over your head until your arms are straight. Change the seal to TO, sign of the outer lion. Your face expresses the look of a lion engaging an adversary, & is ready to growl. Chant TO. Visualise that you are using the three esoterics to transform yourself into the Vajrasattva. Your body is displaying the colour white. You are wearing the precious crown of five wisdoms on top of your head (a infinitely dignified composure). Your body is emitting the brilliance of a multiple of colours. Your heart is filled with the valour of the Vajrasattva. Your heart is like that of a valiant lion without fear. You have the strength like that of a lion. No one can defeat you. Your power is unlimited & boundless, equal to that of the overflowing life force within the cosmos (Breathe naturally during the visualization). Chant the mantras: #OM FURILUO SADUOFU AH KANG #ON JI RE TA RA SHI I TA RA JI BA RA TA NO-O SOWAKA Inhale & begin lowering the seal along your nose down until it is level with your chest. Point the seal forward & thrust your arms forward, as you exhale. Then bring the seal back next to your chest as you inhale. With the seal pointing up, raise it up over your head, & change the seal into SHA, the sign of the inner lion. Chant SHA, then lowering the seal down along your nose until it is level with your chest. Visualize that you are using the three esoterics to become one with Vairocana. The heart (mind) of Vairocana is like that of a lion king. Your heart is responding & also becomes the lion king. The lion king

高松伝の本


九紙印

Kuji-In

17

will devour all LAZINESS, all the anger, & all the discontent in your heart. Chant the mantras: #OM MA NI PAD ME HUM #ON HA YA BAI SHIRA MA TA YA SOWAKA Point the seal forward. Thrust your arms forward. Point the seal up slightly & change the seal to KAI, sign of the outer bonds fist. Chant KAI. Next, bend your elbows slightly, then thrust the seal forward again, & let out a loud HENG sound to vibrate the heart chakra. No visualization. Chant the mantras: #OM MA NI PAD ME HUM #ON NO-O MA KU SAN MAN DA BA SA RA DAN KAN Change the seal to JIN, sign of the inner bonds fist. Chant JIN. Then bring the seal back next to your chest. Visualize that you are using the three esoterics to call the Vajrasattva to assist you in a successful career. You are becoming the Vajrasattva. Chant the mantras: #OM FURILUO SADUOFU AH KANG #ON A GA NA YA IN MA YA SOWAKA Point the seal up & raise the seal up over your head. Release the interlocking fingers & press your palms together with the fingers pointing up. Lower both palms to your sides until they are even with your shoulders, palms face down. Rotate your palms to face forward as you bring your arms horizontally forward, arms straight. When your palms are about shoulder width apart, quickly clap them together, the louder the better. Then make the RETSU seal, sign of the wisdom fist. Chant RETSU. No Visualization Chant the mantra: #ON HI RO TA KI SHA NO GA JI BA TA I SOWAKA

高松伝の本


九紙印

Kuji-In

18

Bring the seal back next to your chest. Point the seal down, & then back up. Raise the seal up over your head. Change the seal to ZAI, sign of the ring of the sun. Chant ZAI. Lower the seal down to your chest level, then back up to your forehead. Touch your thumbs gently on your eye bridge. Visualize that the moon is full & is taking up half of the sky. Your body is getting bigger & closer to Vairocana. You are entering Vairocana. You are becoming Vairocana, situated within the full moon. Chant the mantra: #ON CHI RI CHI I BA RO TA YA SOWAKA Change the seal to ZEN, sign of the concealed form. Chant ZEN. Lower the seal down next to your chest & stay there for a while. Chant the mantra: #ON A RA BA SHA NO-O SOWAKA Make the ZAI seal. Start with just a short time. Gradually increase the time. Bring your hands together in front of your chest with your fingers pointing up, & stay there for a while. Point your fingers down & lower your palms to your thigh level. Let all the impurities drain out of your body through your toes & the bottom of your feet. Move your palms to your sides, up over your head, press them together over your head, & chant OM. Lower your palms to your throat level & chant AH. Continue lowering your palms to your chest level & chant HUM. Next point your fingers down & move them down next to your HARA in Japanese or DANTIEN in Chinese. Separate your palms, but keep your fourth fingers touching. Stay there for a while. Release the fingers that are touching, & nourish your Ki for a while before finishing.

高松伝の本


九紙印

Kuji-In

19

Now prepare to perform KUJI KIRI nine cuts. Make the TO-IN hand seal chant the following three times: #NAU MA KU SAN MAN DA BA SA RA DAN SEN DA MA KA RO SHA DA SO WA TA YA UN TA RA TA KAN MAN Next, pull out the right hand (which is the sword). The left hand remains at the waist. Visualize a power grid in front of you consisting of four vertical lines & five horizontal lines. Starting with a horizontal slash from left to right at the top left hand side of the grid, chant RIN. Next, a vertical slash from top to bottom starting at the top left hand side of the grid, chant PYO. Follow this pattern with the rest of the slashes, namely TO, SHA, KAI, JIN, RETSU, ZAI, & ZEN. At the end of this do a tenth slash in the shape of a tick & chant UN. Performing these nine cuts powers up the grid that you visualized thus protecting you from all that would harm you outside of the grid. It is a way of mentally projecting the power that you have attained. Dissolve the TO-IN seal above your head, place your hands in Gassho & chant the following mantra three times: #ON KI RI KI YA RA HA RA HA RA FU TA RAN PA SO TSU SO WA KA Keeping the palms in Gassho chant the following magic formula: #NA MU HON ZON WE KAI MA RI SHI TEN RAI RIN WE KAU SONO KAU SHU GO SHIMETA MA HE #ON A JI CHIYA YA HO RI SHI YA SOWAKA To finish bring your palms together next to your chest & chant three times: #OM NAMO BENZI Sakyamunifo & all the enlightened families.

高松伝の本


九紙印

Kuji-In

20

Pictured above is Vajrasattva (diamond spiritual hero), the indestructible, brave, & courageous bodhisattva, who strives to cultivate virtue & get rid of evil. Vajrasattva is also known as the bodhisattva of the three indestructible’s. The three indestructible qualities are fearlessness,

高松伝の本


九紙印

Kuji-In

21

decisiveness, & immovableness, which gives the power to cultivate virtue & get rid of evil. Fearlessness is not being afraid, even when one is facing problems & obstacles. The more setbacks one gets, the more courageous & brave one becomes. The bigger the obstacle one overcomes, the happier one gets. If one doesn’t have problems, one helps others solve their problems. Because one is made up of an indestructible body, one can’t be injured or infected by diseases. Decisiveness is being free from doubt or wavering even when one is faced with objections, degradation, or obstacles. One becomes even more brave & continues forward. Because one has the wisdom of the Vajrasattva, one can see through the intentions of others objections, degradation, & obstacles. One further elevates one’s courage & puts forth more effort to accomplish one’s goals & objectives. Immovableness is being incapable of being moved by any obstacle. Just as the mountain will not budge, one will not let any unmeaningful or insignificant events move them. If one is always disturbed by worldly affairs, unable to shake off vanity, other’s attacks & criticisms, easily moved by mundane & insignificant events, one will not be able to successfully become one with the universe & reach enlightenment.

高松伝の本


Bujinkan Densho Book

Recommend Documents