GYOKKO-RYU KOSSHIJUTSU by Unsui 1) HISTORY Founder Toda Sakyo Isshinsai received the tradition of Gyokko-Ryu Shitojutsu from Sakagami Taro Kunishige in the Tenmon period (1532-1550), and created Gyokko-Ryu Kosshijutsu and Koto-Ryu Koppojutsu, which he taught to Momochi Sandayu and were handed down within Iga-Ryu Ninjutsu and reached Toda Shinryu¬ ken at the end of the Tokugawa shogunate (mid-l9th century). Thus the foundation of the Togakure Ryu, which draws upon the traditions of Iga Ryu, is the Taijutsu of Gyokko-Ryu Kosshijutsu and Koto-Ryu Koppojutsu. 2) THE KAMAE OF GYOKKO-RYU KOSSHIJUTSU Migi Ichimonji no Kamae The legs are open, the hips lowered, the right hand and arm straightened, and the left fist held loosely with the thumb sticking up is rested on the right elbow. The face is placed in the gap between the hands. The tip of the right hand faces the opponent's heart. Stare at the opponent's eyes with the intention of piercing his heart. Hidari Ichimonji no Kamae Same as Migi, but with the left side forward. Migi Hicho no Kamae The left foot points 90 degrees to the side, the right foot's arch is rested lightly against the left knee, and the right and left hands and face are the same as in Ichimonji no Kamae. Stare at the opponent's eyes with the feeling of storing up energy in the entire body, like a bird wrapped up by a snake. Hidari Hicho no Kamae Same as Migi, but with the left foot forward. Migi Jumonji no Kamae With the right hand in front, the arms are crossed in front of the chest in an x-shape, without touching each other and both hands gripped lightly, and the chin should peek out through the top of the cross. The left leg is pulled back a little from a natural standing position and the hips are lowered. Fill yourself with intent, and stare at the opponent's eyes with the feeling of driving back any attack. Hidari Jumonji no Kamae Same as Migi, but with the left side forward. Copyright 1999, Jissen Kobudo Jinenkan, all rights reserved. --------------------------------------------------------------------------------------------------------------------------GYOKKO-RYU KOSSHIJUTSU b y U n s u i 3 ) GYOKKO-RYU TAIHENJUTSU KIHON-GATA (These are for practicing the Gyokko Ryu's basic ways of moving the body.) Hira no Kamae From Hira no Kamae (shizentai--a natural standing position), against the opponent's cut pull your right leg back and roll to your right. (This is practice for sideward rolling and sideward handsprings.) Both sides. Ichimonji no Kamae From left Ichimonji no Kamae, roll to your right against your opponent' s cut, and immediately leap in
to strike the opponent's Suigetsu with a right Boshiken thumb strike. (This is practice for forward rolling and forward handsprings.) Both sides. Jumonji no Kamae Turning your body freely to the right and left (and switching the left and right foot coming forward), use right and left Shuto to strike into targets around the opponent' s neck. 4 ) GYOKKO-RYU MOTO-GATA (These are for teaching the body the circular movements which are characteristic of the Gyokko Ryu.) Migi Ichimonji no Kamae Stand in right Ichimonji no Kamae. The opponent comes in with a right strike to the face. Pulling your left foot back to your left, roll your right hand to your right while making a fist and strike the left wrist or Hoshi. Bringing your left foot forward, roll your left hand over to tbe left to turn into a shuto striking into the muscles of the right side of the opponent's neck. Hidari Ichimonji no Kamae The opposite of Migi. Migi Hicho no Kamae Stand in right Hicho no Kamae. The opponent comes in with a strike or kick to the Suigetsu. Bringing your right hand down across your left side, strike away the opponent's strike or kick, kick into your opponent's Suigetsu with the right foot and move forward to strike into the muscles on the right side of the opponent's neck with a left shuto. Hidari Hicho no Kamae The opposite of Migi. Jumonji no Kamae Stand in right Jumonji no Kamae. The opponent comes in with a left, then a right punch to the face. Pull your left foot back and to the left slightly and strike the opponent's left Hoshi or left wrist with your right fist. Leaving your feet in place shift your body forward and thrust into the opponent's Kimon with a right-hand Boshiken. Open your right hand slowly, move your r ight foot back and bring your right hand back inside your left, and then pull your right foot back and to the right slightly and strike the wrist or Hoshi of the opponent's right arm as he punches again. Leaving your feet in place shift your body forward and thrust into the opponent's Kimon with a left Boshiken. Slowly opening your left hand, return to the original kamae. COPYRIGHT (C) 1999, JISSEN KOBUDO JINENKAN. ALL RIGHTS RESERVED. GYOKKO-RYU KOSSHIJUTSU by Unsui 3 ) GYOKKO-RYU TAIHENJUTSU KIHON-GATA (These are for practising the Gyokko Ryu's basic ways of moving the body.) Hira no Kamae From Hira no Kamae (shizentai - a natural standing position), against the opponent's cut pull your right leg back and roll to your right. (This is practice for sideward rolling and sideward handsprings.) Both sides. Ichimonji no Kamae From left Ichimonji no Kamae, roll to your right against your opponent' s cut, and immediately leap in to strike the opponent's Suigetsu with a right Boshiken thumb
strike. (This is practice for forward rolling and forward handsprings.) Both sides. Jumonji no Kamae Turning your body freely to the right and left (and switching the left and right foot coming forward), use right and left Shuto to strike into targets around the opponent' s neck. 4 ) GYOKKO-RYU MOTO-GATA (These are for teaching the body the circular movements which are characteristic of the Gyokko Ryu.) Migi Ichimonji no Kamae Stand in right Ichimonji no Kamae. The opponent comes in with a right strike to the face. Pulling your left foot back to your left, roll your right hand to your right while making a fist and strike the left wrist or Hoshi. Bringing your left foot forward, roll your left hand over to the left to turn into a shuto striking into the muscles of the right side of the opponent's neck. Hidari Ichimonji no Kamae The opposite of Migi. Migi Hicho no Kamae Stand in right Hicho no Kamae. The opponent comes in with a strike or kick to the Suigetsu. Bringing your right hand down across your left side, strike away the opponent's strike or kick, kick into your opponent's Suigetsu with the right foot and move forward to strike into the muscles on the right side of the opponent's neck with a left shuto. Hidari Hicho no Kamae The opposite of Migi. Jumonji no Kamae Stand in right Jumonji no Kamae. The opponent comes in with a left, then a right punch to the face. Pull your left foot back and to the left slightly and strike the opponent's left Hoshi or left wrist with your right fist. Leaving your feet in place shift your body forward and thrust into the opponent's Kimon with a right-hand Boshiken. Open your right hand slowly, move your r ight foot back and bring your right hand back inside your left, and then pull your right foot back and to the right slightly and strike the wrist or Hoshi of the opponent's right arm as he punches again. Leaving your feet in place shift your body forward and thrust into the opponent's Kimon with a left Boshiken. Slowly opening your left hand, return to the original Kamae. COPYRIGHT (C) 1999, JISSEN KOBUDO JINENKAN. ALL RIGHTS RESERVED. ______________________________________________________________________ GYOKKO-RYU KOSSHIJUTSU by Unsui 5 ) TORITE KIHON-GATA (These techniques are for the purpose of practising how to use basic joint locks as well as the circular movement characteristic of the Gyokko Ryu. The defender begins from a natural standing position.) (1) Opponent grabs Defender's lapel with his left hand. Defender catches with his right hand in Omote Gyaku, pulls his left foot back a bit and lifts his right hand high while dropping his hips, pulls his right foot back, and adds his left hand to drop Opponent by rolling his hand over. Opponent falls face-up.
(2) Opponent grabs Defender's lapel with his right hand. Defender catches with his left hand in omote gyaku, and what follows is the opposite of the previous technique. (3) Opponent grabs Defender's lapel with his left hand and strikes with his right fist. Defender strikes (the arm) upward with his left fist and at the same time catches Opponent's left hand in omote gyaku with his right hand and throws just as before. (4) Opponent grabs Defender's lapel with his right hand and strikes with his left fist. What follows is the opposite of the previous technique. (5) Opponent comes and grabs Defender's lapel with his left hand. Defender catches Opponent's left hand with his left hand in Ura Gyaku and steps back with his left foot pulling the opponent's hand down in a wrist reverse, then suddenly changes, reaching his right hand over Opponent's hand to catch it in omote gyaku, then pulls his right foot back and adds his left hand to throw Opponent. (6) Opponent comes and grabs Defender's lapel with his right hand. What follows is the opposite of the previous technique. (7) Opponent comes and grabs the cuff of Defender's right sleeve with his left hand. Defender pulls his right arm together with his body to his right side. Dropping his hips and making a sufficiently large wrapping motion from below to above to the outside of Attacker's arm, Defender all at once locks the arm and kicks Opponent's knee joint with his right foot to take him down face-up. (This is called Musha Dori) (8) Opponent comes and grabs the cuff of Defender's left sleeve with his right hand. What follows is the opposite of the previous technique. (9) Opponent catches Defender's right sleeve with his left hand. Defender pulls his right arm and right foot back together with his body. When Opponent pulls back, Defender enters and wraps Opponent's left arm from the inside with his right hand and brings his left hand up to meet the right, then turns his left foot back behind him to throw Opponent with the joint lock. For this movement the position of Defender's feet should make a straight line with Opponent's. (10) Opponent catches Defender's left sleeve with his right hand. What follows is the opposite of the previous technique. COPYRIGHT (C) 1999, JISSEN KOBUDO JINENKAN. ALL RIGHTS RESERVED. GYOKKO-RYU KOSSHIJUTSU by Unsui 6) JORYAKU NO MAKI (From the Tenryaku Uchu Gassho hand position, change to left Ichimonji no Kamae to begin. The meaning of Tenryaku Uchu Gassho is becoming one with Nature ~ entering a state of gmuh [emptiness].) ÿÿ Koku...........The technique's meaning is to make somebody kick empty space. What is important in this technique is leaving your body in a place that is easy for the enemy to kick. Also, there are three directions for stepping with the right foot depending on the distance. Renyo..........The meaning of the technique is to tumble your opponent like a wheel. The important point of this technique is the locking method, but if the enemy escapes, use that to your advantage, kicking and simultaneously re-catching the opponent with Omote Gyaku and throwing.
Danshu........The meaning of the technique is a bouncing Shuto. What is important in this technique is, after striking with the left fist, using that rebounding motion to strike with Shuto as though cutting. Danshi.........The meaning of the technique is a bouncing finger (thumb). The important point here is after striking with the left fist, striking down from above into the Kimon with a turning motion of the wrist. Sakanagare.....The meaning of the technique is to reverse the flow. What is important in this technique is to strike the back of the enemy's hand when receiving to the outside, and when receiving the adversary's kick, to do so with a sideward swinging motion of your knee. Keo............The technique's meaning is the appearance of a bird flapping it s wings. The important point of this technique is, when striking down both the adversary's hands, to beat downwards in a large movement like a bird flapping its wings. ’
Hanebi........The meaning of this technique is the image of sparks popping from a fire. What is important in this technique is, when evading the adversary's kick, dropping your body as low as possible then standing up suddenly and pressing the other way, and throwing the opponent over in a big motion. Keto...........The meaning of this technique is in the manner of knocking down a gate. What is important here is how you do the final kick. Essentially, you are putting your body weight onto the right foot and keeping it there in order to stomp the opponent right to the ground. Yubi Kudaki....This technique's meaning is to crush the opponent's finger. The important point is to grasp the adversary's right little finger with your right hand while dropping your hips, and when the adversary pulls away slightly, not missing that timing to drive into his chest with your left fist. Ketsu Myaku....The meaning of the technique is to choke off blood flow. What is important in this technique is to cause pain before the opponent's Sankaku-Jime choke is fully applied and then throw. Sakketsu.......The meaning of the technique is to squeeze to death. What is important here is to stick the arms out and push your hips back sufficiently. Teiken........The meaning of the technique is the appearance of a bull or horse kicking with its hooves. The important point of the technique is pulling your hips out far enough to the left side. COPYRIGHT (c) 1999, JISSEN KOBUDO JINENKAN. ALL RIGHTS RESERVED. --------------------------------------------------------------------------------------------------------------------------GYOKKO-RYU KOSSHIJUTSU by Unsui 7) CHURYAKU NO MAKI (From Futen Goshin Gassho change to Ichimonji no Kamae to begin. The meaning of Futen Goshin Gassho is that Nature is one's protector) Ujaku.............The meaning of the technique is [to move] quickly, like s Korean crow (magpie). The important point in this technique is, when slipping in under the adversary's arm, to get one's body low and simultaneously to stick with one's back against the opponent.
Seito.............The name of the technique means a Saba (mackerel). Moving with speed and power. What is important in this technique is that when you grab the adversary's shoulder with your right hand, you reach across with the intention of using Metsubushi (attacking the eyes). Dashin...........This technique's name means to jolt and pull down. The important point here is in striking the adversary's thumb with Shuto when knocking his short sword down. Korai.............This technique means to throw down a tiger. The important point of the technique is the same as in the previous technique gUjaku h. Ko/Hane Tsurube...The meaning of the technique's name is to use leverage. What is important in this technique is that you not try to catch the adversary's kicking leg on your arm, but instead place it onto your shoulder. Shi-En...........This technique's name means strength and cleverness (a lion and a monkey). The important point in this technique is, when kicking the adversary's right kick (Keri Kaeshi) with your right leg, to kick upward using the momentum of a spinning motion with the body. Horaku...........The technique's name means a mountain crumbles and falls. What is important here is that when avoiding the opponent's thrust you pull your left foot slightly back to close the distance, and hug the adversary's arm into your armpit. Copyright (C) 1999, Jissen Kobudo Jinenkan. All rights reserved. --------------------------------------------------------------------------------------------------------------------------GYOKKO-RYU KOSSHIJUTSU by Unsui (Third Scroll) 8)GERYAKU NO MAKI (From Han-o Han-eki Gassho gMizu-Jujih, change to Ichimonji no Kamae. The meaning of Han-o Han-eki Gassho is gaining a large advantage by not trying to match the opponent's anovements.) Shun-U..........The meaning of the technique is to be swift like a falcon. The important point of this technique is to thrust into the base of the opponent's nose with a right Boshiken and at the same time press against the grip of his sword. Shunsoku........The meaning of this name is footwork that is as quick as a falcon. What is important here is to take a step in while pushing down with the left hand which is controlling the sword handle. Ichigeki........This technique's meaning is to shoot down the adversary with a single blow. The important point in this technique is to push the opponent's right elbow up high enough to disbalance him while entering into the next motion. Kaisoku.........The name of the technique means superior footwork. In this technique, what is important is to bounce the opponent over with 0-Soto in the process of putting down your right foot after kicking up with it. Kuryaku.........The meaning of the technique is to scoop away or snatch away. The important point of this technique is to keep your right arm slightly lower when using your body for Sutemi (the body drop). Iai-Fu..........The technique's meaning is to match the opponent's energy and envelop him. What is
important in this technique is to keep your left fist directly above your head when you receive the opponent's Daijodan so you are not hit in the top of the head with the handle of the sword. Chingan.........The meaning of this technique's name is to lower your posture like a wild goose coming down. The important thing in this technique is to get low enough when turning to the left and sinking down, building up strength and then making the next movement. Fu-Mo...........The name of this technique means a big wind. The important point here is that the right and left hands make a large and simultaneous opening movement. COPYRIGHT (C) 1999, Jissen Kobudo Jinenkan. All rights reserved. GYOKKO-RYU KOSSHIJUTSU by Unsui 9) SUMMARY OF GYOKKO RYU I have been telling various things about the Gyokko Ryu, and now I would like to sum up. As I mentioned in the beginning, the core of Gyokko Ryu is Kosshijutsu, which developed from Shitojutsu, but there is also Ninpo. It follows that of course there are also Kenjutsu, every type of Bojutsu, and more. Momochi Sandayu studied the Koto Ryu and Gyokko Ryu and founded Iga-Ryu Ninjutsu, so for each type of technique in Togakure-Ryu Ninjutsu, which derived from Iga-Ryu Ninjutsu, the source is found in Gyokko-Ryu Ninpo. For this reason, around the 40~ year of Showa (1965), we chose Togakure-Ryu Ninpo, for its name value, and since this was the same as learning Gyokko-Ryu Ninpo, we only studied Togakure-Ryu Ninpo. Next I will introduce the Ken (fists), Keri (kicks), and Taihenjutsu (body movement) of Togakure-Ryu Ninpo Taijutsu. (Note: The * asterisk indicates common to Koto Ryu and Gyokko Ryu. No mark indicates only found in Gyokko Ryu.) I. KEN * Kikaku-ken (using the front of the head); * Shuki-ken (using the elbow); * Fudo-ken or Nio-ken (a fist with the thumb clenched on the outside); * Kitenken (a shuto "sword-hand"); Shishin-ken (using the little finger); * Shitanken (using the five fingers freely); * Shako-ken or Shihan-ken (using the fingertips and the palm); * Shito-ken (using the thumb); Shiyaku-ken (making a fist and using the second knuckle of the middle finger); Shikan-ken (gripping the fist so the palm is rounded and using the second knuckles of the four fingers ); * Koppo-ken (using the first knuckle of the thumb); * Happaken (using the palm of both hands); * Tai-ken (using every part of the body) II. KERI (Here I will refer to kicks also as "-ken") * Sokuyaku-ken (using the heel); * Sokki- ken (using the knee); * Sokugyaku-ken (using t he toes) III. TAIHENJUTSU * Zenpo Kaiten (forward roll); * Sokuho Kaiten (sideward roll); * Koho Kaiten (backward roll); * Zenpo Tenkai (forward handspring); * Koho Tenkai (backward handspring); * Sokuho Tenkai (side handspring); * Yoko Nagare (sideward body drop); * Tate Nagare (rear body drop); * Zenpo Ukemi (forward breakfall); * Zenko-Sayu-Joge Choyaku (leaping forward, backward, left, right, up and down) I ought to have explained these things at the beginning of the Gyokko Ryu articles, but I began abruptly with Kamae, so I will put this at the end. In any case, it is best to learn each kata as a form to follow. In a real fight, your own body will react naturally to the opponent's movements. It is better not to have your own "best" techniques. It is always easy to take counter-measures against a gfavourite h technique. In essence, that gbest h technique will become a weakness. COPYRIGHT ~ 1999, JISSEN KOBUDO JINENKAN. ALL RIGHTS RESERVED
