Togakure Ryu Ninpo Taijutsu By Masaaki Hatsumi 34th Grandmaster of Togakure Ryu Ninjutsu
Ten Ryaku No Maki The reason why martial artists have a long lifespan is due to their unchanging attitude of living as a martial artist. Takamatsu-Sensei's life was also this "fixed style." He woke at sunrise and massaged his body with cold water to instantly accelerate his faculties. He would then walk his dogs for an hour or so. He ate three meals a day consisting of tofu, sesame, vegetables, fish, and buckwheat noodles. Painting was his hobby. He drew pictures every morning. He never got angry at anything. After sunset he went to bed. This was his lifestyle at 80 years old. My lifestyle is like this as well. After I wake up I massage with cold water, drink salt water and walk my dogs. I never eat breakfast. I believe omitting breakfast is more important than any other exercise. I eat a bowl of cut vegetables before lunch and then have tofu, sesame, small fish, and natural whole grain rice. After lunch I enjoy walking my dogs for 2 hours. For dinner I usually eat anything I want, including lots of vegetables, but I never eat anything with sugar or salt. I avoid eating anything unnatural especially those baked or cooked. Takamatsu-sensei told me that human beings lost their natural power as a result from eating cooked food. Doing the following are a basis for life: 30-minutes of exercise before going to bed, keeping physically fit, eating natural foods, respecting the gods, being brave, and taking cold showers under waterfalls. Takamatsu-Sensei would say, "it is unacceptable to easily lose your temper." I assume that anger breaks the peace of mind, makes you blind, and you make incorrect decisions. This is a very dangerous condition for a martial artist.
Stretching and Breathing Stretching and breathing exercises are the most basic exercises you should do everyday. The goal is for your thumbs and toes to turn around easily and for your spine to be able to bend backwards. In Chinese medicine they say that it is good for the head to be cold and the legs to be warm. It is very important for martial artists not to cool your legs and feet even during the summer. Try to train not only your body to be flexible but your mind as well.
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Ryutai--dragon's body First you want to make your legs and waist stronger and more flexible. I used to be the captain of the soccer team in high school. I ran everywhere and practiced judo in the city gym, which is the better of the two. In Judo the hips seem to be flexible but when we look at their movement from the point of view of physics they are very inflexible. So it is necessary to correct the way of walking so that the inflexible hips can be changed easily into flexible ones. First, exercises for your hip joints, crotch, and legs as well as four other ryutai exercises are required. Picture 1: Sit down with your feet together pulled into your crotch. Picture 2: Push down on the knees to open the crotch. Picture 3: Next bend your body forward to put your stomach on your feet and hold your ankles. Or bend forward and pull the toes. You may stretch your hands forward as well.
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Picture 4: Stretch your backbone and pull your toes back as much as possible while twisting the body from right to left. Picture 5: Bend forward pulling the bottom of your heels or toes. 4
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Picture 6: Open your legs as wide as you can and pat both of your legs and lower back with your fists. Picture 7: Fold your body forward holding your big toes. Picture 8: From the seiza position stand on your knees and bend backwards as shown and push the backs of your feet with your fist and thumbs for one minute each way. Picture 9: Gradually make your body fall backwards with your arms outstretched while breathing deeply and stretching your upper and lower body.
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Breathing Exercises (Koky(ho) It is very dangerous to believe that it is no problem to be punched in the stomach while breathing in. It is natural for the breath to stop suddenly when punched. "Toshin" is a good example. Breathing is the proof of living so it is necessary to study the correct and natural way of breathing. At the dojo while practicing waza and ukemi the correct way of breathing which is important for the waza should be used. Understanding this point is the most important lesson you can teach yourself in this life.
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Picture 13: While sitting in seiza turn your head to the right with your right shoulder pulled back in order to breathe in. Picture 14: Dropping your right shoulder. Picture 15: Turn you head straight and breathe out completely. Picture 16: Turn you head to the left to breathe in and turn it back straight to breathe out completely.
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The First Exercise: The way of breathing in the right posture. 13 Picture 10, 11: Sit down in seiza and breathe in with your shoulders widely open and back. Picture 12: Breathe out completely with your shoulders dropped and bent forward.
The Second Exercise
The Third Exercise: Deep Breathing Stretching Picture 17: While stretching your arms and legs straight. Picture 18: Open your arms to both sides and breathe in. Picture 19: Put each hand on the front leg in order to breathe out.
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Massaging Before Exercising
Picture 20: Massage every part of your body with your hands. You will notice that your skin is breathing.
Taihenjutsu- Moving the Body The skill of shifting your weight is both an offensive and defensive action. 20 This shifting of weight should never stop--this is most significant. Some motions are very fast and others are slow. this shifting motion is footwork and a hiding style which is based upon a high skill in this type of body movement. When you do Ninpo you should disappear, avoid, and run away which might be regarded as cowardly for a martial artist, but you should realize that this is one of the most important skills at first. When you move away, "nigeru" escape, be sure to "nigeru" (avoid and kick). It has the same meaning. There is a point like this hidden in one of Takamatsusensei's pictures. A wild pig was chasing down a monkey. The monkey suddenly fell and rolled out of the way. The pig was so angry that he couldn't see the monkey and passed right by it. The monkey laughed at the pig and waved good-bye to it. In the foreground there was a valley. Then the monkey disappeared, "kieru", which also means breathtaking. What do you think of this? This was his sense of humor.
Rolls
Picture 21: Rolling forward. Picture 22, 23: Rolling backwards with your hands on the ground. Picture 24, 25, 26: Rolling forwards as well as rolling backwards without using your hands. Picture 27: Rolling forwards and backwards correctly in a straight line. Picture 28, 29, 30, 31, 32, 33: Rolling to the side, which you first practice with your hands. Next practice with your hands off the ground. to roll to the left, do the opposite of this. Picture 34: Forward Handspring -"rolling" in the air by first springing with your hands.
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Picture 35, 36, 37: Flips "Rolling" in the air without using your hands. Take special care when flipping since your body is in one place in the air. An attack is likely to come then. When the flip is done, avoid, jump, or roll as best you can. Picture 38, 39, 40, 41: Dive rolls - Jumping in the air and then rolling forwards. You should practice going in every direction, up and down as well moving your body constantly.
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Leaping in Four Directions (Shi Ho Ten Chi Tobi) Beginner exercises: Shi ho ten chi tobi consists of leaping in all four directions and then being able to roll in every direction. This is useful against an enemy's attacks. When leaping in all directions you should train yourself not only to jump high but to be low, just above the ground, and land as lightly and as far as possible. "Ten" which means heaven is jumping high. With this you should learn the skill of "inashitobi" which is jumping just as high as necessary. "Chi" which means earth is to lower the body down or to drop in a hole. It is necessary that you practice how to fall down to the ground. This is necessary for quickness. Now that you know the beginner exercises the next stage is how to leap measuring the distance between you and the opponent. After practicing over and over you will find yourself being able to jump naturally judging by the opponent's spirit.
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Picture 42, 43, 44: Leaping left to right. Picture 45: Leaping Tenchi (heaven to earth) 45
Ukemi Forward Ukemi Gata Even though ukemi is likely to be considered as just a part of Judo on tatami mats there are various kinds of skills in ukemi. When walking, when threatened, even when hit, kicked, or thrown there is ukemi. When the opponent comes to hit you you would best work to avoid him, which is one skill of ukemi. In addition to this you can also let him hit you and pretend a if you were hurt without being damaged. That trick is also a kind of ukemi. You might trick and annoy the opponent and then have more revenge that what was done to you. This ukemi can be done when kicked or thrown. When walking if you step on a tack it is bound to penetrate the skin, but just the skin is hurt. This means that you are required to sense and deal with a difficult situation as effectively as possible. This is the way of ukemi. The most important defense is that of your spirit. As I have mentioned before I regard this as ukemi but you can view it as taihenjutsu also. With this ukemi you can cope with any threatening situations without being hurt even in dangerous circumstances.
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Picture 46: You should pose with your arms in the figure of the Japanese number "8" in front of you. Picture 47: The profile of the picture. Picture 48: The ukemi on the ground. Your hands should be in the figure of the Japanese number "8". After practicing this you should move on to the next posture.
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The forward Ukemi
Picture 49: Stand this way and throw yourself forward. Picture 50: Pose with your hands in the figure of the Japanese number "8". Picture 51: Profile of technique. Picture 52: The forward ukemi with your legs to the side. Your upper body would the thrown down to the front but your legs go across to your side. A variation of this allows you to sense footsteps coming on the ground.
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Yoko Nagare (flowing sideways) First lower your body with your right leg out across your front side. Picture 53, 54, 55: Extend your right leg across the front side. Picture 56: Use taihenjutsu instead of posing. Land without using your arms. Picture 57: Roll around to the rear from the previous position. Picture 58, 59: Rise up after the roll.
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The lessons should be successive. This means training for the purpose of merging ukemi and taihenjutsu. This can also be applied to other various skills as well.
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Tachi Nagare (vertical flowing) Like Judo this is not done with the hands but with the body. Of course to keep from hurting your back you should round your back and roll backwards with the feeling of floating on air. Picture 60: From Shizen no Kamae Picture 61: Move your right leg forward while bending your left leg. Picture 62: From this ukemi kamae you can roll back from here, you can also turn right or left like the hands of a clock.
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The three variations of leaping, rolling and of taihenjutsu must be sure to be understood as one thorough constant continuous motion.
Shinken Taihenjutsu In ancient traditional training there was one lesson for learning to make your decision to do "sutemi waza" or "shinkengata." Let us compare it with modern martial sports an see how different they are. In modern martial arts such as Kendo you practice with a bamboo sword and some body protectors so that you don't get hurt. In Judo you are practicing on a soft floor made of tatami mats. You are also competing in each game according to the rules. Generally this would be satisfactory, but today, because martial arts have spread worldwide it is not understood by non-Japanese that this way of practicing is practical, particularly training on tatami mats. These days there might be many people making serious efforts to learn "sutemi waza" but when you practice on tatami floors or on mats it is still just like a sport. It is very dangerous to train in such a blind pointless way. What would you do if your were suddenly attacked in the dark? To deal with this situation you had better practice in the darkness and feel what blindness is like. This is the real "sutemi." Only when you can acquire this feeling will you know it. I am trying very hard to stress this point to my students. While I'm teaching "hanbojutsu" I am always asked, "how should I defend myself if I am disarmed by someone with a bo?" But in a practical real situation you may well have your arms broken. The action of breaking your arm will create an opening, emptiness in the opponent's body and spirit at that very moment. This opening will lead you to win. You should catch that moment. In a real fight you can't rely on how skillful you are. In a way, modern martial artists seem to be just a collection of martial skills. Just knowing the techniques is not enough. Half of your mind should act on the intention you receive from your opponent's will to fight. Win or lose, the battle is blind. So you have a 50/50 chance. Looking at it from this point of view you had better enter "shinkengata." It is said that modern martial artists are required to use the last 9 cm. of their swords. In the ancient times your way of sword fighting would decide your victory and you would win faster if you used the last 9 cm. of the blade. 9 cm. minus 1.5 cm is 7.5 cm. This time difference could be the difference in reaching your opponent in time. The same applies to punching. The clinched fist, half-opened fist, and the open-handed fist and the length of your arms are naturally different from each other. Hideyoshi's short story states that it is very important to win in a sparring match with knives and swords. In "shinkengata" I always tell my students to have themselves beaten first. Referring to Ittosai Itto, he says, "Let them cut you first, you learn something from this." "Kiru," to cut can also mean "to mind." So the shinkengata is the only way to raise the ability of your spirit's faculties. In acting as well only after you learn how to be cut will you become a real actor on the stage. Repeated defeats such as being thrown, beaten, or feeling resistance make you confident in the end. So "makeru" means to lose, but it also means to kick the devil. Shinkengata taihenjutsu is applied to ukemigata an shi-ho-ten-chi tobi. This application is to teach you the broader meanings directed towards understanding shinkengata. And this is what you should learn: how to breathe and be alive with weapons. Another name for this is "mutodori taihenjutsu gata.”
Taihenjutsu Mutodori Gata 1. Hira no Kamae - When the opponent goes into Daijodan no Kamae, you should stay about 1 meter away. No matter where he cuts at you, even at your stomach, keep this distance. Keep this distance until he attacks. The moment he begins to cut step backwards. At the same time stand in an ukemi kamae after pivoting to the right. 2. Ichimonji no Kamae - Just after the opponent enters Daijodan no Kamae and begins to cut, you should roll to the right to a place about 1 meter away. Jump in before the opponent can cut down again from the Daijodan posture. Quickly put your left knee down and punch out with your right hand to his suigetsu. 3. Juumonji - When the attacker cuts from Daijodan, you should turn your right or left side and step in with your left leg at the same time that you pull back your right leg. Immediately step forward with your right leg and hit with a right or left shuto to the "amado" weak point on his neck. This taihenjutsu is called "mutodori shoshin no kata" and you can understand the basics of "mutodori" from these techniques.
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this Picture 63, 64: Shinken Taihenjutsu Gata - Rolling to the side. With you can counter-attack freely. Picture 65: Yoko Nagare (flowing sideways) ized Picture 66: The way to punch in after doing taihenjutsu. Picture 67, 68, 69: Leaping-- training for leaping against a battle-sss" sword.
The Skills of "Floating on Air" and "Seeing in Complete Darkne The skill of walking on air is essential not only to the ninja and martial artists but also to everyone that intends to learn these tricks. The deep, vague mysteriousness which is seen in "Noh" plays is described by this running, and jumping on the ice while wearing Japanese "geta," wooden traditional shoes. This teaches you how to balance your weight, but at the same time it is training you to float rhythmically in the air. You must also train for circumstances when there are beans on the floor or when the floor is waxed or when t here is something blocking your path. Next, keep physically fit. And in the final stage train with weapons. One day a close student of mine came to me to ask for a "yari," Japanese spear, lesson. He said that he would be leaving in 3 months because of a job transfer. So he wanted to learn this before he left. I gave him 3 lessons: (1) the significance of "aruki," a style of wal king, (2) the hardness of "aruku," walk, and (3) "aruku" hardly being able to walk. He could barely do these 3 lessons. For those 3 months I only taught him only these three skills and then sent him on his way. This is the way of disciplining a martial artist. I am pleased with is s. h showing up and being able to figure out the merit of these lesson
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Picture 70: Practice keeping your balance while skating forward and kicking. "Suberi Shintai." Picture 71: Also practice walking on your hands with the geta as well as dropping down "moguri gata.” Picture 72: Practice mainly on keeping your opponent off balance while you retain yours.
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The Skill of Seeing in the Dark It is natural instinct for us to fear the dark. "Ukemi no Jutsu," floating body movement, and "ankoku toshi jutsu," seeing in the dark, appear to lead us through some kind of spiritual mysterious world. So we practice together. I am often asked, "You don't fear anything, do you?" But this fear of the dark cannot by overcome by everyone. So let's think about how to treat this fear. I like to think that the feeling of fear is a wonderful sign that cautions us of the existence of danger unless in exceeds its purpose. Imagine that t he feeling of fear begins in the mind like some clouds in summer. In reaction to feeling starts firing the "martial nerve." After the feeling of fear has moved into the martial nerve, the fear is sure to disappear and leave just the martial nerve. Of course, there is no need to say that you need to practice this.
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In Ninpo there is "ankoku toshi jutsu." You crawl on the ground and look up at the sky. In Koppojutsu there is a technique called "Katsu Gan," living eyes, in which you stare at the motio n of the air instead of watching the person. Do this from a crouched position and you should throw the "katsu ban," shuriken-like object, in this direction. If you can figure out how to do this, you can throw anything that you find. Throwing something is possibly a method of distraction and inspiration for you. This attracts the opponent's mind and lets your spirit flow.
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Picture 73, 74, 75: Practicing in the dojo with scattered beans. 74
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Kamae and Kata Ideally the forms and actions should be invisible or not seen by the opponent, but they might be noticed and he will know what you are doing. This is very dangerous in a real fight since you will likely be attacked at such an opening. Therefore, I emphasize that the students live ordinarily, concealing their knowledge so people can't recognize that the student is really strong. This is called "Shichi Ho Sanpo Gata," sevendirectional three-way kata. When seen in "shinobi," creeping forms the normal, ordinary "tsune no kata." Of course they are not living absent-mindedly. They are learning natural peace of mind in order to react to any trivial instincts as soon as possible. When it comes to kamae it has a common meaning among "tai gamae," body posture, "jin kamae," warrior posture and "shiro kamae," castle posture. A secret ambition hidden in each posture springs up an
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turns powerful in the spirit. For instance, in the Gyokko Ryu, they vow never to fight anything in harmony with the universe while enduring and praying bravely. But there is an important decision made to protect the tiger's children behind this vow. The tiger's parents believe in never fighting to the end. They are ready to enter kamae with their strong eyes flashed, desiring peace to come, not to attack. Takamatsu-sensei taught me how to take care as a ninja. Enduring is to take care and shape skills and permanently endure. Then it is you who are the expert "ninja." Rodan talks like this as well: "You can't make a masterpiece without patience, enduring like each drop of water absorbed into a hard rock.” Picture 76: Picture from the "Kotoh Ryu" densho scrolls. Picture 77: Fudoza, motionless, immovable seat Picture 78: Ryu Ho no Kamae -dragon and cheetah's kamae Picture 79: Ryu Ho Fu Setsu no Kamae -- dragon, cheetah, wind and show kamae Picture 80: Shizen no Kamae -natural posture Picture 81: Hoko no Kamae -Barricade posture Picture 82: Doko no Kamae -Angry Tiger posture Picture 83: Juumonji no Kamae - Number 10 posture Picture 84: Hicho no Kamae -- flying bird posture Picture 85: Ichimonji no Kamae -- Number 1 posture Picture 86: Hicho no Kamae Picture 87: Doko no Kamae Picture 88: Ihen no Kamae (right) Picture 89: Hira no Kamae -- flat posture Picture 90: Ihen no kamae (left) Picture 91: Kosei no Kamae -- offensive form
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Shoten no Kamae -- Rising to Heaven Kamae This method is not used merely for rushing up trees and wal ls but also from climbing up a person's body. For practicing in the dojo, a thick board should be put against a wall at a low angle and then run across it and practice keeping your balance. Each time gradually tilt the board upwards until you can dash up it at a 90( angle. This "shoten no jutsu" can also mean "turning to win" in another translation. Picture 92: Shoten no Jutsu 92
Ukenagashi When the opponent pushes and kicks, this skill is used with your hands and body, but mainly with your mind accepting and flowing with the opponent's attacks. The reason why such an action is necessary, to begin with, some insanity or evil intent is hidden within the opponent's attacks in a real fight. While relaxing, slowly, correctly turn away and accept with a flowing motion. Please experience a taste of this "body action." Uke Style of Punching
Picture 93: From ichimonji no kamae Picture 94: turn your left hand upside-down Picture 95: profile view Picture 96: change your body kamae Picture 97: avoid the opponent's attack Picture 98: turn his attack upwards, guarding with your fist Picture 99: flow in
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Variations of this picture need to be practiced with the right leg back, diagonal back, to the side, and to the front. Also change the footwork.
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Uke vs. Kick
Picture 100: From ichimonji no kamae Picture 101: step back Picture 102: change the kamae Picture 103: catch his leg with the dropping left fist Picture 104: flick back quickly and flow.
This needs to be practiced with footwork variations as I've mentioned before. The next lesson is doing the footwork quietly and smoothly.
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102 103 104 16 "hidden fists" punching methods "Toshin" was mentioned earlier so we know of it well, but "toki" is less known perhaps. "Toki" is punching at the spirit and "knocking him down" with air rather than fists. It is also far distance punching, yelling, and freezing someone in their tracks. "Toki" and "toshin" sometimes happen together, and in other cases you should take turns hitting with each at random. Now I will tell you 2 or 3 of my experiences with "toki." While I was teaching a famous Chinese Kenpo artist, I put too much of myself in the lesson. I said, "This is a lesson in which you will not be able to move tomorrow." He said that he was ready to receive it because he had kept physically fit. That day he trained very vigorously, but the next day I got phone call from him saying that he couldn't get out of bed due to the pain. Another time, one of my students came to have a lesson while drunk. "You are still young, aren't you?" I asked while plotting to use "suikyo," fascinating fists, against him. Suikyo is a mix of toshin and toki. So I really did it. For one hour I kept asking him, "Are you alright?" "I'm alright," he replied. I advised him to go home cool his body and sleep well tonight since he had been trained by suikyo. Several days later he called me and said that he would never come to another lesson drunk again. He came to see me barely able to walk. He said he stopped by on the way back from the doctor who said that he had swollen lymph nodes and that it would take about 3 weeks to heal. This case is similar to a saying, "An idea of your father's affects you later." I warned him about his actions, but he didn't understand until it was too late. This is like a fist that's as hard as a rock. This fist generates a way of living and you can kill the opponent or leave him alive if you choose how to use the fist correctly. There are various ways of keeping your fists fit, but above all it is important for the beginner to hit soft objects correctly and then gradually build up to hitting harder ones. The next step is to hit hard objects with just the thumb with the arm outstretched. You should train how to hit with different fists depending on the body type. Sometimes you can use a special secret medicine on your fists that will keep them strong.
Using Walnuts To make the fingers' motion smooth and flexible you should spin two walnuts in your hand freely right to left and round and round. The motion of the fingers is connected to that of the whole body. When you understand this point from your little finger to you thumb your brain, stomach, liver, guts, and heart's motion will be more lively. This ninja used to use walnuts as tools in order to protect themselves, such as metsubishi. This method of training is so that you can use to tips of the fingers more effectively.
The Different Kinds of Fists: 1. Kikakuken (Demon's Horns Fist) Mainly this is done with your forehead, but in some special circumstances you should train to use the back of the head or other parts. Picture 105 & 106
2. Shukiken (elbow strike) Your right elbow is used as a fist in this method. The elbow should be used in real fighting situations. This is so effective that a woman can give a man a good rebuff. When men use this in variation without limitation this strike turns into quite a powerful weapon.
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Picture 107 & 108
3. Fudoken (immovable fist) This is a fist that keeps the thumb outward. It is a multi-changeable fist which can strike a variety of places. It looks as if it were a fixed fist but it can be shot out from anywhere.
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4. Kitenken (shuto fist) This fist is the secret one of the Gyokko Ryu. You should turn the fudo ken into the kitenken after grabbing -- it becomes a secret fist. Then the opponent can be controlled in the end. On the other hand, to show a great deal of wits (kiten ga kiku) is the origin of this kitenken.
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5. Shishinken (pointing needle fist) You use the little finger. This is punched at an opponent's weak points with this needle finger from a "Nioh Ken," strong king fist. Another translation of this is "Issun bohshi," 3.3 cm boy's fist. Everyone knows the story of how Issun Bohshi defeated the demon even though he was such a tiny boy. Takamatsu-sensei could crack hard rocks with his shishinken. Picture 111
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6. Shitanken (tips of the fingers fist) You can use the tips of your five fingers freely. Picture 112
Picture 113: Gyu Kaku Ken (Bull's horns fist) Picture 114: You should punch at the opponent with gyukakuken's three fingers simultaneously. Picture 115: Sanshitanken Picture 116: Shishitanken Picture 117: Shuken Picture 118: Sanshitanken
7. Shakoken This fist uses the palm of your hand and the tips of the five fingers. Takamatsu-sensei's fingertips were so hard and well-fit like those of an animal that nobody could break his nails without a nail cutter. This was due to the fact that he was living in the mountains for one year practicing on trees and rocks. On the other hand, his fingers were so soft and flexible that they could bend backwards 90 degrees Picture 119 & 120.
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8. Shitouken (finger sword fist) Using the thumb. This is also called hisouken, secret fist. Picture 121 & 122
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9. Shikanken
Picture 123: Using the knuckles of your four fingers. Picture 124: variation of shikanken
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10. Koppoken
Picture 125: using the knuckle of the thumb Picture 126: a strike to the heart of "taihen." Picture 127: a ryo u uchi punch
11. Happa Ken (eight leaves fist) This strike is with the palm, and called "both sleeves weak points of happa" in another translation. It is the fist that defeats the opponent from the right and left at the same time. You shouldn't really strike someone with this since it's very dangerous. So just think of it as a "hae tataki," fly swatter.
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12. Taiken (body fist) The shoulders, hips, elbows, and other parts of the body are used as a whole fist for punching with your body. Picture 129
13. Sokuyakuken (heel stomp) Mostly the bottom of your foot is used, but loosely speaking you can use every joint of your foot freely. Picture 130, 131, 132, 133
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14. Sokkiken (knee strike) Your knees are used in this strike. This is effective for knocking up and down the opponent's weak points. (() Right sokkiken helps "asaka uchi," morning mist punch. Picture 134 & 135
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15. Sokugyakuken (toe-kick) Use your toes as a fist. In another translation this is called "sokushi toh," toe sword. Picture 136 & 137
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16. Ki Ken (spirit fist) With concentration of the spirit you can defeat the opponent's punching. This is also used for far-away punching. In another translation, motionless heavenly spirit.
San Shin No Gata (the techniques of the 3 hearts -- chi, sui, ka, fu, and ku no kata) The martial arts regard the mind of a 3-year old as very significant. Martial artists pray that they may become as lively and innocent as a 3-year old and describe their arts this way. My representative of this is Taro Okamoto, a painter. When I think about sanshin no kata this man always comes to mind. I am always telling my students to put the child's mind before all other things. In addition, when I act, draw pictures, write, or view things as a martial artist this child's mind sticks with me. It is common sense that human beings grow up to be wellmatured and successful, but I think this is wrong for one reason. Instead of the maturity of humans being placed first, it would be better if martial artists stop putting your success and maturity as foremost in importance. In this way of thinking, a subtle taste exists and "koppo" is hidden. There are many works concluded before being supposedly successful. This is so in Hidari Kangoro and in Michelangelo's works. In martial arts there is a proverb, "You had better win in your own way when you are attacked, but just keep on praying when the opponent doesn't attack." There is nothing more ridiculous than the purpose of a martial art being only to defeat or kill your opponent. The warm blood will vanish if you regard yourself as an adult. To the student who has told me that his artistic ways are already accomplished, I will break this vision and illusion and constantly scold him in order to make that cold-blooded heart warm again. I am always looking for a martial artist with the child's mind and an immature humanity based on the proverb, "A child's spirit never changes until he is 100 years old," and whose martial arts is similar to this.
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Picture 138, 139, 140, 141: Sui no Kata - Omote Kiten Ken Daho (omoteshuto) Picture 142, 143, 144, 145, 146: Omoteshuto kata Picture 147, 148, 149, 150, 151: Ka no kata (urashutogata) 144
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Picture 152, 153, 154, 155: Fu no Kata
The aim of this kata is to make the opponent realize the power of the outstretched arm. The unexpected reach of your arm will confuse him because you are able to reach him by bending your knee rather than extending your arm.
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Picture 156 & 157: Ku no Kata
In this strategy, it is important that you raise your hand with the correct timing.Kick up high with your right leg after moving back your hips and hand in time.
Ku no kumite Gata (grappling with the Ku no Kata) It is better to "catch" the opponent's fist in tune with his energies rather than using kyojitsu, deception in the Ku no Kata. When catching (Picture 158) you should raise one or both hands and catch his fist as if catching a fastball. The opponent would be off balance then. Then hold his hand with a swinging down motion under his crotch and catch with the other hand behind him. Also hold his right leg with your elbow; the opponent will fall forward on his face. (Picture 159)
The Kihon Happo (The Eight Basics) One day Takamatsu-sensei said this to me, "When I was taught the Gyokko Ryu Koshijutsu basics I found eight rules essential to every martial art. I proclaim this to you and believe it to be true. I will let you teach these 8 basic rules." These basics are important for those students who are going to practice and master real practical taijutsu. Alive or dead the taijutsu is dependent on the movements in these basics or variations of them. According to Manaka-sensei, one of my students, when he was given a gun after 9 years of not having used one he could score 90 of 100 points. When he stood in ichimonji no kamae and shot he could score a perfect 100. In the U.S. the "green beret" invited him to play some "games" with their top officers because they knew that he knew Japanese martial arts. At first he didn't accept their offer, but they were so eager to train against him so he took them on 3 at a time. They were all experts and veterans of battle and had just
Ichimonji no Kamae
Hicho no Kamae returned from Vietnam. Each person attacked in different ways: wrestling, boxing, knife, fencing, and with sticks. Many were knocked unconscious while he simply knocked down others. They immediately got up and came at him again. He decided this time he would give them no mercy and he knocked every one of them out. One of them had his shoulder ripped out of joint and that kept him from getting up. Only then could they understand how real Japanese martial arts are, and they praised his talent and presented him with a bloody green beret cap brought back from a battle in Vietnam. He won that battle since he had mastered the Kihon Happo correctly. He said that it was quite a good experience to learn how the movements of the Kihon Jumonji no Kamae Happo are used in a real situation. The Kihon Happo are considered as a "kihon happo," emotion creating method, in another translation. The question of "yuki," existence of emotion, and "muki," emotionless, is based upon struggle. The Kihon Happo are: Ichimonji no Kamae, Hicho, Juumonji no kamae gata, Omoteshuto gata, Urashuto gata, Omotegyaku ken sabaki gata, Musha Dori, and Ganseki Nage.
The First Rule of Torite Gata: Omotegyaku Tori Picture 160: Avoid the opponent's attack with your left hand on his hand. Picture 161: Grab his hand in time with him and start the left omotegyaku tori. Picture 162: Grab his hand with your right hand as well. Picture 163, 164: While guarding, throw the opponent with taihenjutsu. Picture 165: In another way, move forward and take him down with a right urashuto to the "amado" weak point. Picture 166: Then bar the opponent's elbow with your right knee. 160
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Picture 167: Also use your right leg to attack the right "amado.”
When the omotegyaku is not effective you should make full use of your omotegyaku with your taijutsu -- move your body!!
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Picture 168: Omotegyaku and Oni Kudaki hen gata (variations on oni kudaki) Picture 169: Here you are tying up the opponent's arm. Picture 170: While doing this, put the opponent on the ground by pushing your right elbow into his weak points. Picture 171: This "oni kudaki ude shime gata," arm choking oni kudaki technique" is changed into "choshi dori,"making in tune, by adding in catching the opponent's leg with your knee pushing it down while catching his left foot also.
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The Second Rule of Torite Picture 172: The opponent is beginning to punch and grabs your lapel. Picture 173: when he punches, defend with your left fist. Picture 174: Raise his left hand high in omotegyaku tori. Picture 175: Step back with your right foot to takedown. Picture 176: Always take the opponent to the end. This time we finish with a variation called "take ori," breaking bamboo.
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The Third Rule of Torite: Uragyaku Tori and Hongyaku Tori You will see that the uragyaku is the opposite of omotegyaku. You should catch the opponent's hand so that you can turn back to the inside. At the point where his arm bone points up, if you turn his wrist down, this will become the hongyaku. You throw the opponent away with the variation, uragyaku hanten. The omotegyaku, uragyaku, and omote- and ura- hongyaku are the six ancient rules.
Picture 177: When you are grabbed by the left collar, you should hold him with your right hand. Picture 178: Hit his hand with the bone of your left wrist and grab with both hands. This is the hongyaku. 177
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Picture 179: Holding him in hongyaku. Picture 180: Pull him forward and lock the back of his elbow with your leg.
This is called "gozen dori." You can take the opponent into "gozen dori" from uragyaku as well. 179
Picture 181: Pull his elbow close in front of you with your left hand while doing hongyaku. Picture 182: Set him down with his arm joint twisted. Then I pull my left arm in while my left half around with my body so my body is stepping back. Picture 183: I catch his hand in the hongyaku and turn my body around to the right. Picture 184: He cannot move from here due to the great pain he feels. Variations of "Uragyaku”
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Picture 185: I get the opponent in uragyaku. Picture 186: Step back with the right leg. Picture 187: Catch the opponent in uragyaku with my right hand while my left hand grabs his elbow weak point and lifts it up. Picture 188: From here drop straight down and make a slight variation with the left hand.
It is important to be able to feel and flow with variation.
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Ganseki Nage This ganseki nage technique is the essential throwing style with hundreds of variations, so you should have plenty to practice. Picture 189: When the opponent grabs my right collar and my left sleeve, Picture 190: I grab his collar with my left and grab his sleeve with my right. Then I step back 45° with my body. Picture 191: Lift my right arm up under his left arm. Picture 192: Then grab his left elbow as in "gyaku tori" as shown in the picture. Picture 193: Step forward with the right leg between his legs or in front of his left leg. Picture 194: While twisting your body or dropping down, throw him away. Picture 195: Don't be satisfied with just being able to throw him, you should try to know the skill of "Gyo Un Ryu Sui," flowing moving water cloud, that is able to change when the opponent changes in any way.
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Looking at Ganseki Nage from the other side: It looks like I'm catching the opponent with my head, but I'm really catching him with my body in tune with him. Picture 196: I pull myself back diagonally to the right. Picture 197: My right hand goes over his left hand. Picture 198: I push my hand in between his body and the side of his left arm. Picture 199: Raising my right hand, Picture 200: I throw him away. 196
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Kyusho and Kiai (Weak Points and Spirited Shout) The "kyusho" have various names and various points are considered secret among the various schools of ninjutsu, but in fact there is no big difference between them. One thing that you have to notice is that there is a big difference between different types of people in which points are effective when punched or kicked. There are two types of weak points, one of which makes it possible to move with "kappo," punching at your own weak points when you are punched at, and another is to knock the opponent down. Punching at your own weak points refers to challenging your own weak points in life in order to make yourself more flexible. This picture is from the scroll of the "Chugoku Ikyo," a section of the Takagi Yoshin Ryu, depicting the kyusho which are lethal points. According to this, it says that "atekomi," punching, is used to make the opponent become unconscious or maimed by your shuto, fist, finger tips, open hand, toes or ankles. Similar information is listed in the section called "Daken Daiji," important points of punching. In Koppojutsu the names of the kyusho are their effects are listed. Of the 49 listed the effects are: those points which will kill, cause deathly pain, make you sick later, make you faint temporarily, paralyze you for 3-7 days, paralyze temporarily, cause great pain, etc. These kyusho are called "Go Mon No Kyo," the sutras of the five gates. Once your punching skills improve you can learn other skills like "Fudo Kanashibari no Jutsu," motionless tied-hand skills, and "toate," far-away punching, which knocks the opponent down with your spiritual power. You can catch and hold a very strong man with a woman-like winking punch. But don't believe that punching only at painful places is the best way of hitting the opponent's kyusho. Some people have a good feeling when you hit their kyusho. So this person won't move at all. Therefore, you should study human beings' and animals' habits and learn how to hit the weak points. Then you can accomplish the mysterious skills in ancient stories. For example, Musashi Miyamoto (who was famous for his bravery) could catch flies with his chopsticks. He did this over and over again before his enemies who became afraid of him and ran away. You can learn to do this too. When Takamatsu-sensei was living in the mountains he knocked down a wild bird with his "kiai," spirited shout. There are 3 kinds of kiai. One is yelling in order to distract the opponent's spirit so that you can win. Another kind is yelling in order to surround yourself with iron walls to the opponent, "doko kara demo koi," come from any direction. The other is yelling once you know the opponent's skill. The other day one of my students who has a 5th degree black belt came to attack me while yelling. When I yelled back at him with this kiai he fell backwards about 5 feet. Furthermore, there is yelling to create a weak point in the opponent -- to create emptiness (an opening). Kiai is important. You should practice it aloud as well as other lessons. "Kiai yelling" is translated into "seigi," justice, and "seigi," voice skill. This is like protecting justice with a tigerlike roar.
Kyusho (Pressure Points) 1. Menbu: The middle of the forehead. 2. Kasumi: The temple on the side of the head. 3. Happa: the ears--slapping them breaks the eardrums, e tc. 4. Kirigasumi: Directly behind & under the ears. 5. Jinchu: directly under the nose over the mouth. 6. Dokkotsu: The Adam's Apple 7. Hadome: Just inside the cheek bone 8. Kirigasumi: same as #4 9. Happa: same as #3 10. Kasumi: same as #2 11. Yugasumi: Directly behind the ear 12. Atari: Hit this point here 13. Chidome: this point stops the blood. 14. Chidame: the blood builds up at this point. 15. Yugasumi: the same as #11 16. (No name): a few inches below the ear. 17. Ryu mon: just inside the collar bone 18. Ittoki: Inside the end of the collar bone. 19. Murasame: The hole in the neck 20. Santo: the inner lines in the neck 21. Amado: The lines on the side of the neck 22. Left and right kin: The bone just above the eyes. 23. Asagasumi: the point of the chin 24. Hoshi: Point under the arm 25. Inner & Outer Hoshi: The points on the inside and outside of the elbow. 26. Nagare: The point on the muscle of the forearm just below the elbow. 27. Uragyaku: The point on the thumb bone--employed when doing uragyaku. 28. Omotegyaku: The point on the back of the hand. 29. Kin: The point in the web of the hand. 30. Jakkin: The point on the arm bone between the shoulder and the elbow. 31. Hoshi Shita: The inner point on the elbow. 32. Butsumetsu: The floater ribs and the soft part underneath. 33. Kage: The solar plexus 34. Gorin: The points on the sides of the belly button. 35. Suzu: The groin. 36. Koe: The point in the bend of the hip 37. Sai: The point in the inside of the thigh. 38. Kaku: The point on the inside of the knee 39. Yaku: The inside of the calf 40. Toki: The point on the bones of the foot 41. Omote Kimon: The point above the breast. 42. Ura Kimon: The point under the arm between the 4th & 5th ribs (across from below the breast) Not pictured Juji Jiro: the front of the shoulder bone. Uin & Sain: The bone just below the eye (right & left side) Daimon: The point between the top and bottom of the shoulder joint Seitaku: The indention in the knee Wakitsubo: The point in the indention in the underarm. Koshi Tsubo: The point in the hip bone. Kin Ketsu: The bones under the breasts.
Chi Ryaku No Maki Keri (Kicking) First you should practice touching your thigh to your chest. To do this you should pull your leg to your chest with both arms and hold it there. When you do the kicking motion, the way of using the knee is important. Bend your knee while dropping the hips and touch your thigh to your chest. Do this eight times for each leg.
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Soku Yaku Ken (heel-stomp kick) This kick is the basic form of kicking. At first drop your hips and touch your thigh to your chest. Then kick out like throwing the back of your foot out. Picture 201, 202, 203, 204: Soku Yaku Ken Picture 205, 206: Soku Yaku Ten (leaping heelstomp) Use the heels while leaping Picture 207: Soku Gyaku Ken Ten (leaping toe kick) Use the toes while leaping
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Koho Geri (kicking backwards) Picture 208: Bend your upper body as deeply as possible and bend your right knee. Decide where you will kick and kick backwards. Picture 209: Punching and holding with "fudo ken." Picture 210: With your taihenjutsu drive the opponent away and punch at him so that he falls down and away.
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How to defend against kicks It is important to practice letting the opponent kick the air instead of you. Hit or catch his kick with taihen just when the opponent feels that he should have kicked you. It is an important key to be able to make the opponent float in the air when caught. Keri Kudaki (crushing the kick)
Picture 211: Punch with fudo ken to the "yaku," calf. Picture 212: Punching and holding with fudo ken.
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Picture 213: Using taihen, when you push the opponent away punch at him as he falls.
Taihen -- body movement
Picture 214: Hold him up with your left fist at the "yaku," calf. Picture 215 Then kick him at the same place with your leg. Picture 216: "Tsure Yuki": Grab and hold his kicking leg with taihen. Picture 217: "Irekomi Taihen" Kick his standing leg. Picture 218 & 219: Be sure to drop your weight to punch as in both pictures. Be sure to practice many variations of these keri kudaki techniques. "Tsure Yuki" Picture 220: Then hold him with his legs crossed.
Koto (false fall)
Picture 221: The opponent kicks. I avoid him by moving diagonally back and catch him with my right arm. Picture 222: Hold his foot and insert your left hand inside his foot. Picture 223: Attach your body to his foot. Picture 224: Turn his foot in the opposite direction.
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Picture 225: Grab and hold him. Picture 226: With your right "kiten ken" punch the opponent while pushing him down. Picture 227: Next crush and split his knee with your body power.
225 Picture 228: Catch his ankle from below naturally with your left hand and push him to make him fall or turn the ankle into omotegyaku. Picture 229: Omotegyaku tori Picture 230: or use a variation in which you use a sokki ken to punch in at his thigh to bend the knee joint.
Picture 231: Move to the left against the kick and naturally hold his right leg. Picture 232: Grab his knee with your right shoulder and both hands. Picture 233: Use taihen to collapse the opponent. Picture 234: Turn into "migi ashi jigoku tori," hell grab of the right leg.
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Picture 235: This technique turns the kicking leg outside by punching at his inner thigh at the inner knee simultaneously with "migi nioh ken," right king fist, ist. and "shuki ken," raising hand f Picture 236: "Irekomi taihen" -turn his body with the uke an hit with a kiten ken to his arm. 235
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Picture 237: Grab his kicking ankle behind your back. Picture 238: At the same time punch down on his right thigh or knee with your right arm. P icture 239: Variation of the previous pictures.
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Keri no Karada Tori (catching the kick with the body) Picture 240: Grab and catch the kick with your back and hips in harmony with the attacker. Picture 241: Grab his kick naturally with your shoulders or head and kick out his standing leg in order to take down. Picture 242:Don't leave the opponent alone. Always stay with him.
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Ken no Tsukai Gata (How to Use the Fists) "Inashi Gata" (Technique of no will) The way of using your fists should not be monotonous. Many think that using only one fist should be effective, but it is important that the subject of changing fists be brought up. When people punch, most only think that the hands or feet are being used. But in fact the fists are being applied with all the body. It is also wrong to think that the fists should be punched as quickly as possible. According to an ancient document, punching to the weak points from the shortest distance with your whole body is the secret. As you practice this you will find that it is the quickest of all fists and punches. Of course it is the fists you are using while punching as well. Don't forget that the punch should be directed towards the point where the opponent can't see. Each fist has it's own individual characteristics in which some of them are curving while chopping, and some of the hits come from unexpected places, such as "kashinten," over extension of the elbow, with taihen. The first step in learning how to punch is learning how to hit the weak point correctly. You should know this point very well. Picture 243: Punching to the "hoshi" weak point with fudo ken. Picture 244: Punching to the weak muscle with the shuto. Picture 245: Punching to the "jakkin" with the forearm (Mae Ude Ken) Picture 246: Hitting upwards with "kikaku ken." Picture 247: Punch to the "butsu metsu," soft stomach tissue, with taiken (whole body punch)-- use the shoulder to damage the tissue and break the ribs. Picture 248: "Kikaku ken Ryobu Uchi" punching to both sides using the kikaku ken. Hold with both hands in a fist.
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“Henka Ken" (fist variations)
Picture 249: Punch to the suigetsu with "shitan ken." Picture 250: If the opponent can bear this, I don't pull my punch back but instead change it into a boshiken strike to the solar plexus. Picture 251: Punch to the butsumetsu. Picture 252: change it into "shako ken butsumetsu kimon uchi" (grabbing punch to the breast and the sides of the ribs.)
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Picture 253: punch to the upper arm weak point between the muscles. Picture 254: Double punching to he same place with a shuki ken. Picture 255: Punching to the point below the ear with shito ken. Picture 256: Uke punch with a left fudo ken while hitting to his "jakkin" with a right shikan ken. Picture 257: Punch to the chin, "asagasumi," with a shikan ken.
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Picture 258: When the opponent bends back from the punch, hit down with a shuki ken to the chest. Picture 259: Shako ken used as metsubushi, eye blinders. Picture 260: Punch to the sides of the ribs with shito ken.
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Itami Uchi-- punching to be painful Picture 261: Grab the hoshi, elbow joint, and "punch" it with the shito and shitan ken. Picture 262: Punch in to the shoulder's hoshi point below the armpit. Picture 263: Grab his front upper breast "omote kimon.” Picture 264: From a left butsumetsu shako ken change to a "gorin kudaki," crushing the 5 points of his gut.
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Itami Osae or Itami Dori (holding painfully or catching painfully) Picture 165: Soku Yaku Dori, Ashi Kubi Osae. It is also ashi kubi osae in another translation. Picture 266: "Mae Ude Osae," holding the front arm. Picture 267: Keikotsu Osae, it is also called "Benkei Osae" in another translation. Picture 268: Soku Gyaku Sokki dori, holding the leg with the knee.
You will be able to catch the enemy however you wish by holding these weak points with your fists a I've mentioned above. When you understand "koppo" it will be easy to defeat any human being. As for my students, it is easy to hold a bull by holding the nose ring. The legs and tail also apply.
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"Henka Keri" (kicking variations) Picture 269: Punch with soku gyaku ken following soku yaku ken. Double punch with these. Picture 270: Use the right 269 soku yaku ken as a hooking kick to his knee or thigh. Picture 271: I uke strike his punching arm from the outside turning him away. Then I hook kick his leg from behind to knock him down. Picture 272: Use the 272 sokki ken to attack the outer thigh causing him to fall. As he falls hook his knee. Picture 273: The opponent punches at me with his right fist. As I move to the outside, I raise my right leg and soku yaku to the butsumetsu. Picture 274: This time I kick to his neck with the side of my big toe as I avoid the punch.
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"Sho Keri Henka" (variations on close-range kicks) This lesson is to get the understanding of using these kicks freely, even when you are grappling or not touching him. 275 Picture 275: From "yaku keri," kicking the calf, to "ashi kake," hooking the leg. Picture 276: From "nana batsu keri" to "soto gake," hooking outside.
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Picture 277: From "yaku keri" to "hiza barai," sweeping the knee. Picture 278: From "sai keri," kicking the inner thigh, to "yaku fumi otoshi," stomping down on the calf.
"Ken Nagashi" (fist flowing) or "Tedama Dori" (juggling catch) Picture 279: From "aigamae," meeting position, the opponent punches at you. I grab his fist while flowing and widening myself to the outside. The breathing will blow him away. This "inashi," fist flowing should be dome with the feeling of "inashi," lack of will, which has the same pronunciation. Picture 280: This time he comes at me, but I just let him float there in the air. This trick is to hold his front foot with my foot.
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Grappling When the opponent comes up and grabs your collar, the ancient martial artists were sure to hold the opponent's hand with their own. Maybe those students who study the modern Judo would wonder why this is. The fact is that this act keeps the opponent from thrusting in on my weak points with his shito ken. When you are grappling, the opponent's hand will always be touching your weak point-- never forget this. You should accept the 281 basic theory that you are grappling even though you are not touching him. You can be grabbing or catching him with your distance. After learning this, anyone can learn how to grapple well. There are many ways of grappling. 1 on 1, 1 on 2, 1 on many, 2 on 3, etc. You should begin studying this lesson by wearing armor or protectors and having someone punch at those protected parts or those parts with different weapons. Next have someone punch or hit your unprotected parts with different weapons. This lesson in shinken gata is important for studying for the chaotic grappling of a real fight. Of course, when studying this way you will learn the real secrets of "ryu mon or ko mon," dragon's gate or tiger's gate, without protection no matter where the battle occurs. When you grapple with your upper body in close, "choshi dori" with your legs (Picture 281). When you stand firmly let your upper body be soft and flexible. You need to understand the timing of choshi dori. Picture 282: Grab his collar Picture 283: Strike with a boshiken while holding him.
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Te Hodoki (freeing your hands) When you are grabbed a the wrist it is easier to pull your hand with "taihen" as if trying to grab your own elbow. Pull your hand so that your thumb will come in front of you. You should learn to listen to your
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hands. They will tell you what and where you need to go to accomplish you goal from the time you are grabbed. The word hand, "te," means "waza," technique, and "koppo," includes the whole skill of martial arts grappling. Like in the saying, "Donno te de kuru ka?" Which trick will come next? Here "te" has a shady meaning. then remember the phrase, "Sono te ni noranu," I won't fall into the trick. Of course this also implies releasing the spirit (ki o toku) as well. From "te hodoki" to "jinchu shuto uchi," striking the weak point called jinchu. Picture 284,285,286: Ryo Te Hodoki (freeing both hands) Picture 287: Both hands being grabbed. Picture 288: Form the Gassho no Kamae Picture 289: Free your hand o extend the right elbow
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Variations on Te Hodoki
Picture 290: Catch the opponent's left grabbing hand with your right wrist. Picture 291: Then thrust down like a pendulum, "furiko oshi," with your right hand behind his left side. This hides the te hodoki technique and makes him think that he still has some control. Picture 292: Then it's easy to do te hodoki when I grab his left elbow with my left hand. Picture 293: Then I push him slightly with "yoko oshi gata," sideways pushing, to take him down. I drop my body down and finish his right leg with my left knee. He is held at 3 points including his left elbow and his left knee.
Oya Goroshi and Ko Goroshi (killing the parent and child)
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Against a strong person there are three methods for grabbing his weakest point which are his ears, eyes, and finger tips. For instance, when grabbing his fingers sometimes the attacker wants you to grab his finger tips so grabbing them would not be a good idea. It is most important that you should not lose your sense of the attacker's will in a fight. In this case, you should keep away from every action that would be like grabbing his fingers. You should know that it would be easier for the attacker to attack if you grab his weak point.
Oya Goroshi (killing the parent) When he comes to grab my collar I put my left hand on his hand and catch him while pushing his thumb with my right palm to push him down. Picture 294, 295, 296, 297 294
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Ko Goroshi (killing the child) Picture 298: This way I grab from the opposite side, "gyaku tori," his left little finger with my right shito ken. In another translation it is called, "kyo sha tori," grabbing the strong man. Picture 299: His body is kept raised by "ko goroshi.” 296
Take Ori (breaking bamboo)
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There are two ways of doing take ori. One is to catch the opponent from the opposite side of the elbow, inside, at the wrist. The other is to catch it on the outside surface of the hand. When performing a wrist twist, "gyaku tori," you can twist more than one joint at a time with taijutsu. For example, the shoulder joint and the elbow can be twisted as well. Omote Take Ori (outside take ori)
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Picture 300: Takamatsu-Sensei catching the opponent from below. Picture 301: Catch him in a right take ori with your left hand and punch in to his santo, lower neck, and grab him. Picture 302: From the take ori, begin the "taigai kake," hooking from outside his body. Picture 303: Then punch into his butsumetsu with your right knee while your right shito ken hits to the "amado." Picture 304: Then finish him by breaking his right elbow.
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Ura Take Ori (inside take ori)
Picture 305: Grab the take ori from the back of the hand. Picture 306: Take the gyaku of the elbow and shoulder at the same time. Picture 307: To make the take ori more effective, you should shove it in with your body rather than your hand. Picture 308: Sometimes I hold the take ori with my body. Try to grab everything with your body whether it is omote or ura.
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Picture 309: Grab his hand with ura take ori and go underneath his left arm. Picture 310: Apply uragyaku Picture 311: Pull it down. Picture 312: Turn it so that you can grab the elbow. Picture 313: Pull him down to finish.
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Picture 314: Grab him with omote take ori from the palm side. Picture 315: From here I turn into his left arm from the outside. Picture 316: Grab him with omotegyaku as well. Picture 317: Then I grab his elbow with my left hand. Picture 318: Then I drop to take him down.
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Omote Onikudaki and Ura Onikudaki There is both an ura and an omote version to onikudaki. For instance, if an attacker punches at me with his right arm, I will catch it with my left fist and bend his elbow from below and put my hands together around his bent elbow. Then change your body position to take him down. In ura onikudaki do it as if you were hugging his arm to you from above it.
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Omote Onikudaki
Picture 319: The opponent comes to hit me and I defend against it. Picture 320: Grab him by the forearm with my right hand. Picture 321: With my right and left hands in harmony with him, Picture 322: Turn him into the onikudaki. Picture 323:This is Takamatsu-Sensei's onikudaki. There are many variations of this.
Ura Onikudaki
Picture 324: Defend against his right fist; “nyushin," step in, and grab his upper forearm from above. Picture 325: hold him in close tightly so that when I shift my body it will throw him down. Picture 326:Takamatsu-Sensei's was not fixed only on the wrist or the body but rather done as if he were floating in the air. You'll find that he is defending with his "ku," void, and "kaze," wind.
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Muso Dori (Catching Twin Warriors) This muso dori was applied against warriors who wore armor. Turn around him while trapping his elbow from underneath with my hand, do a "gyaku tori" on his elbow joint. As I've said before don't pay attention to your hands. Pay more attention to your body movement in order to make it easier to grab his joint while dropping or diving with your footwork. Then I pull him down and damage not only his elbow but his shoulder also. (Pictures 327, 328, 329) Eventually make a fist and put him to the ground. (Picture 330) When doing this use your fist to drop him straight down, but you can also take him down as if you are falling backwards with your body. In addition to this technique practice to koppo of ohgyaku, elbow breaking, throws, and flowing through variations so that you can do what is appropriate for the time.
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Ohgyaku and Henka (Ohgyaku "big reverse/lock" and variations) The aim of this technique is to catch him by twisting his shoulder joint. As Picture 331 shows sometimes I grab both of his elbow joints and hold them behind my back. Stay standing to catch him in a "ryo ohgyaku," double ohgyaku. Next, drop down to throw him down. Do variations of this.
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Picture 332: Without using my hands, I stay standing to catch his left ohgyaku. Picture 333: Take him down with his face down to catch both arms in ohgyaku. Picture 334: "Ohgyaku Kake Dori" The elbow is locked. Both the arm is held and the neck is held by my left knee. Picture 335: "Kubi Osae Ohgyaku Tori," holding the neck in ohgyaku. I also hold his neck with my sokki ken at his amado. Picture 336: Ohgyaku Dori of the crotch and forearm.
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Gyaku Waza or "kansetsu waza" in another translation is done in order to increase the amount of power to be put on any joint from the outside. Use the body position and movement to make more power than the limbs alone can make. This is used to stop the motion of the opponent or to reduce it. Be sure to use weak points or/and correct taijutsu in order to make the gyaku waza more effective. You should train in order to be able to catch and hold more than one joint at a time. Being caught in a "gyaku waza" Some men say, "I have you in a lock. Do you feel any pain?" If this person got into a fight with someone who has some practical fight experience it would be quite awful for him. Once a brave Israeli came to my dojo, and one of my students took him down all the way in a gyaku waza. I asked him, "it hurts, doesn't it?" He simply looked up at me and replied, "Yes, it does." If this were a life or death battle he had the confidence that he could kill his assailant even though his arm had been broken. There is a difference between the real fight and the lesson. That's why in the ancient times there were lessons of real combat called "shinken gata," real blade techniques.
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Picture 337: Breaking his backbone with my left knee. The opponent is being taken down with my left ohgyaku.
Shime Waza (choking techniques) The neck is likely to come to mind when in comes to shime waza. But it really applies to the whole body. I'd like to explain the "kubi jime," neck choke, first for beginners. As a way to learn defenses against chokes we used to use a forked tree branch (Picture 338 & 339). To begin with, let the opponent be trapped with the branch and let him push it back with his body. Don't push too hard because you can break your neck.
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"Hon Jime," the basic choke
Picture 340, 341, 342: Though I move in the same manner as in "gyaku jime: my right thumb goes inside his collar this time. Picture 343: Hon jime from above. 341
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Picture 344: Mimi jime (choking the ears) Picture 345: Sankaku jime (three-sided choke). I choke the neck with my right and left forearms. Picture 346: "Itami jime," pain choke. Choke his "amado" with your shito ken.
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Picture 347: Grab his neck muscle and squeeze it. Picture 348: Ryo Ude Shime (choking both arms). From below lock both elbow joints. Picture 349: Doh jime, body choke, and kubi jime 349
347 348 Picture 350: Choking the neck with one hand. The opponent is caught by my side on his right hand. Picture 351: Then do "mosubi jime," tyingup choke. Picture 352: Sankaku Jime. With a right knee strike to the kasumi. Both the neck and the kasumi are squeezed.
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Picture 353: Choking the neck from behind. Hold the "chidome" and "amado" points. Picture 354: "nama oto jime," live sound choke. I grab the opponent's right hand with my left and catch his collar with my right hand. Picture 355: With a right knee strike I hit his right thigh and hit his "amado" with my right shuto ken to take him down.
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Ohgyaku Jime (Large reverse choke) Picture 356: While grabbing his right hand with ohgyaku while I grab him and his neck with my sokki ken. Keep training on the "shime waza" shinken gata in your head. Don't really practice it since it can be deadly. Always stop before you reach the end. Variations against and opponent's chokes Picture 357: When the attacker squeezes me I thrust his right elbow upwards with taihen while I grab and pull his weak point on his left forearm. Picture 358: I throw him down to be bent while I punch a this crotch-hip joint, "sei." Picture 359: At the place where he fell, I break his right knee and his leg. Against the choke there are ways of grabbing the eyes or ears or crotch and tengu dori.
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The story of "Nawa Nuke," freeing yourself from being tied with rope Let me tell you the story of one of my students being choked and tied up. When a drill sergeant called on me from Israel, the topic shifted to the skill of "nawa nuke" while speaking of real fights. He said, "I've heard that "nawa nuke" is done by removing the joints from their sockets and sliding out through the holes in the rope. Though I've never experienced such a case where a captive has escaped from being tied, I believe that it can't be done." There really is a method of removing the joints from the sockets to escape, but it wouldn't be a good skill to do often since it would cause problems for the person later. I asked my friend to tie up Tanemura-Sensei, who is known for his skill in "nawa nuke." Every time, Tanemura-Sensei freed himself within 3 seconds with his secret shout. My friend was speechless, literally. Here is another story about Tanemura-Sensei. He once visited the Atlanta Police Department, and the topic of Ninpo came up. Soon they were talking about handcuffs. There is a kind of plastic handcuff which has a metal string in it. When the prisoner struggles the cuffs become tighter and tighter. One of the officers boasted about his "made in America" handcuffs, and said that he would take Tanemura-Sensei around the station in these handcuffs. As soon as the handcuffs were tightened onto his wrists Tanemura-Sensei slipped out of them and left the man astonished with only one word, "How?!" Later Tanemura-Sensei arrested them one by one while giving lessons and gathering the skills of the American military arresting tactics. He finally sent home leaving them all astonished at his skills of "nawa nuku.”
Koroshi Jime (killing choke) When I am attacked from behind with a "bear hug" choke, first I would distract him by moving my head and trying to strike back at him with it. I also punch out my hips into him and spread out my arms wide. This way of moving is the main point. Picture 360: Being caught from behind. Picture 361: Push your head back with your hips and spread the arms wide. Picture 362: Move your body to the left. Picture 363: Do a ganseki gata on the left arm. Picture 364: Throw him down onto his face. Picture 365: In this case I sometimes push my right leg back between his legs. Picture 366: Show the waist back while hitting to his face with your head. Picture 367: Grab his head. Picture 368: Throw him over with seoi nage. It is important to train in the variations of "koroshi kata," killing techniques. Picture 369: Kane Kudaki or Suzu o Tori (crushing the bell or grabbing the groin)
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By the way, when you are choked from behind you can free yourself with the movement of your body. 366 364
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Hell, Heaven and The Pillow of Dreams (Jigoku, Gokuraku, Yume no Makura) The ancient martial artists left their information much like a dream from the heavenly mind and divine will. Takamatsu-Sensei told me the story of how he received the Gokui, divine will. He received it while dreaming of a battle between a demon and butterflies. The demon, who was so strong, couldn't catch the butterflies who were flying freely. In truth, there are some occasions when you can know the gokui through dreams. I came to the conclusion that there is some mysterious power behind the invention of new skills. This power drives and inspires you. In dreams or illusions there is no space for this to actualize itself in the real world, so when it comes through skills the power is increased three times. When a wonderful artwork is created, I feel not only the ability of an artist but also a great power from the outside. There is an illusion and a dream in art in which there is something hidden, which is expressed in Noh plays. In the Noh techniques of illusion and reality lie the characteristics of endlessness or eternity. This inspires me or knocks at the door of my mind. I call this "object" something that cannot be touched or sensed by the human senses. By connecting
with the object we are left alive and protected. First the martial artist has to sense it, and then from this sensing you will be able to acquire g subtle methods for creatinne an endless or divine will o by one. "Ana Otoshi," dropping into the hole
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Picture 370: This is regarded as "kumi te," grappling, as well. I punch in at the opponent's collar with my shito ken. Picture 371: I go to grab his left elbow. When he resists and holds tightly, I hit to his right butsumetsu with my left shuki ken, and my left leg kicks at his right elbow to finish him. Picture 372: Or I do "hazushi uchi," punching to miss the target. Picture 373: My left knee strike punches a both of his thighs. Picture 374: I drop my body to take him down.
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It is important for you to realize the flowing changes between hell, heaven and the dream pillow while you're grappling with both hands as in "ana otoshi." Though there are fast and slow parts in a flow, you can regard it as a big and small wave in nature.
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Jigoku Otoshi (dropping into hell)
Picture 375: I catch him from below with my left elbow as before. Picture 376: I catch him as in "zempo ukemi gata," falling forward ukemi, under which the opponent's left knee joint is punched at by my right sokki ken. Picture 377: The opponent falls down forwards and I punch at his back butsumetsu with my right shuki ken. Picture 378: At the same time I take him to the end by punching his right "yaku" weak point with my right sokki ken.
Gokuraku Otoshi (dropping into heaven) Picture 379: I catch his left elbow from below. Picture 380: He is resisting with "gokuraku gata.”
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Grappling When the opponent comes up and grabs your collar, the ancient martial artists were sure to hold the opponent's hand with their own. Maybe those students who study the modern Judo 381 would wonder why this is. The fact is that this act keeps the opponent from thrusting in on my weak points with his shito ken. When you are grappling, the opponent's hand will always be touching your weak point-- never forget this. You should accept the basic theory that you are grappling even though you are not touching him. You can be grabbing or catching him with your distance. After learning this, anyone can learn how to grapple well. There are many ways of grappling. 1 on 1, 1 on 2, 1 on many, 2 on 3, etc. You should begin studying this lesson by wearing armor or protectors and having someone punch at 384
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Nage (throws) The throws of taijutsu are not monotonous. At first you should understand the throwing techniques, nage waza. From there you can blend them together. As I've said before, you should grasp it as a flow and then train yourself. This also includes "ran dori," free-response training. When people think of nage waza everyone thinks of an image of a small guy throwing a large guy breath-takingly and overwhelmingly, but in a real battle this is not the case. You won't be able to understand the "gokui," divine will, of kuki nage, throwing with the wind, unless you understand that even the largest sumo wrestler trips over the smallest stone. And it differs from Judo or Aikido and many other skills of punching in and falling down. You can catch him at the moment when he feels that he has won and relaxed allowing you to throw him with his own taijutsu. This is one of the characteristics of it. In Judo they announce their "tokui waza," strongest technique, and show it. Because it is a sport in which you win, lose, or tie you can know this. But for the warriors in the warring period, they almost never speak about their strongest techniques. For if he ever did, it would surely be turned into a technique for his death. It is better to not have a "tokui waza" for the judgement of life is "life" or "death." One of the things I teach to my students these days is that nobody should think about your strong point or merit if the tokui waza is one's merit. Rather the person who knows his own demerits or weak points has his own future, so that they learn to push and challenge only their weak points. Unless there are demerits, there will be only merits and you are unlikely to be proud of your merits because of your stable martial art. Inevitably, your art would be more simple without waste, your merits would soon disappear (zero state). This "zero state" should be kept seriously in mind. "Tokui waza" is a heavenly skill that only people who practice lessons constantly can get. It is more important than forms. So I teach my students to become human beings
that can make one tokui waza better with another tokui waza. Every human would be conceited with his skill when it improves only a little in an inadequate number of lessons. This is similar to the drug user in a fight who finally turns numb and stupid, "tengu." Don't be conceited even though you believe you have excellent skills. There should be no strong or weak, soft or brave; therefore, I keep away from this conceited heart knowing the one word of "ku," emptiness or nothing. You should regard yourself as nothing as well. I really like this word. To accomplish or acquire this subtle skill soon, please understand this meaning correctly. "Harai Koshi" (sweeping the hips) "Harai Otoshi" (dropping sweep)
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The method of driving away his hips is also the method for keeping him away from you as well. There is kyojitsu (interchange of truth and falsehood) in this. 389
Picture 387: Grappling Picture 388: change in order to collapse his body. Picture 389: Do taihen while sticking to the opponent's body. Picture 390: Drive him upwards or there is another case where he will drive himself down and away. Picture 391: The opponent's right hand is not grabbing for fear of the next attack. Picture 392: At the moment when I throw him away I finish him with my right elbow strike.
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Gyaku Harai Otoshi (reverse sweeping and dropping)
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Gyaku Nage (reverse throw) This technique grabs his opposite arm and throws him away naturally. When it comes to the arm, the technique includes grabbing tips of fingers, arm joints, elbow joints, shoulder joints, or other places of the upper body.
Picture 398: I punch at his right amado with my right shito ken. Picture 399: I am grabbing in the style of omotegyaku with my right elbow. Finish him with my right elbow. Picture 400:I throw him down while floating him in the air. Picture 401: "Hachiji ryo ude tori," grabbing both arms in the figure of #8. Picture 402:"Se awase ryo gyaku tori" standing backto-back and grabbing both arms reversed.
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Taki Otoshi (falling waterfalls or dragon drops) This technique drops the opponent to the ground when being thrown by moving my body out from under him. Picture 403: I grab his left elbow and put power into the waist. Picture 404: Throw him. Picture 405: While he is in the air, I found a chance to move my body out from under him to drop him.
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Gyaku Taki Otoshi (reverse dragon drops) Picture 406: I begin gyaku zeoi. Picture 407: I swing him up with my left elbow in the air. There I thrust his left arm forward. Picture 408: The opponent falls down on his head. This technique is called "ukemi torezu," not being able to take ukemi. It is a very dangerous method of throwing.
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Be careful when practicing it. The shinken gata way of throwing him is not to be grabbed by him during the throw. The "kiken gata," dangerous styles, should never be done when throwing him to the ground. You should take good care to stop in the middle or have someone support you both. Kubi Tori Taki Otoshi
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Picture 409: When the opponent is thrown with "gyaku otoshi.” Picture 410: While dropping my body down, I crush his head on the ground. Just remember this as a form-- it's too dangerous to practice.
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Oh Soto Nage and Hiki Otoshi Picture 411: Like this I grab his right weak muscle and his left ear with "Oh Soto." Again I drop down to pull him. This and "itami dori" both have similar characteristics but it's best not to use it. If you use it often your basic skills of taijutsu will become poor. 411
Oh Soto Nage
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Picture 411: I grab him with my right and left shako ken. Picture 412: Punching him with my left elbow, Picture 413: I hook his left leg in oh soto to takedown. Picture 414: I hug him while grabbing his left opposite elbow, and put him down while punching his butsumetsu with my left fist.
Hiki Otoshi (pulling to take him down)
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Picture 415: A variation of #1, I grab his right shoulder with my right shako ken. I grab his right hand with my left and pull him to takedown.
Uchi Mata Uchi Kake The difference between this and the uchimata in Judo is that I am hitting the "suzu" and "koe" with my sokki ken and soku yaku ken. Picture 416: Suzu tori. Picture 417: Lifting up Picture 418: Taihen nage Uchi Mata Picture 419: Finishing his right calf with my sokki ken. Picture 420: The opponent was taken down forward with a broken right knee. Be sure to be able to vary these in many ways.
Hane Age This looks like Hane Koshi in Judo but it has a much broader meaning. The throwing technique is leaping up, throwing or crashing into the opponent's weak point (thigh, calf, or "koe"). In taijutsu many various ways of throwing have been developed: throwing to avoid an attack, throwing to crash him to the ground, throwing in the air, or throwing to keep him away from you. Picture 421 & 422: Even though he grabs my sleeve and collar I can throw him away and make him leap up.
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Itami Kohbushi Nage (painful fist throw) I throw him away naturally by punching at his weakest most painful point.
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Kimon Nage
Picture 423: I punch at his "kimon," weak point. Picture 424:I use my waist to throw him away. When he hits the ground, I grab him and break his arm with my right leg. Picture 425: "Kasumi Nage" After punching at his asagasumi I throw him with a seoi nage. Picture 426: "Amado Nage" I hold his amado and throw him.
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Oh Kyo (false attacks)
Picture 427: I open both my arms and drop my waist to avoid being thrown. Picture 428: Next, punch to his butsumetsu. Picture 429: When he comes to use his nage waza you should punch at his "shichibatsu," a weak point which when punched the opponent will not be able to stand for seven days afterwards. Picture 430: I punch in at his right "shichi batsu" with my left shito ken. Picture 431: After knocking him down I punch his face.
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The techniques for avoiding being thrown make lessons for taihen to be centered in the waist or to be balanced so to say. Train to drop your hips and let your arms hand down behind your back when he comes in to throw you. The next step is to learn to attack the opponent when he does this. Once this is perfected, you should learn how to punch while being thrown or to throw him while you are being thrown.
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"Atama Dori" (grabbing the head) After you understand the technique of "ryote darai," hanging the hands down loosely, you should practice to learn how to grab his head to finish him. 430
Picture 432: Asakasumi Dori Gyaku Nage Picture 433:I pull him backwards to fall down by grabbing his head. Picture 434:I knock him down with Kubi Gyaku Dori
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Ganmen Dori (grabbing the face)
Picture 435: The attacker come to throw me. I grab his asakasumi (throat) with my shako ken. Picture 436: I punch at his weakest point grabbing his face. Picture 437: I hit him to make him fall down. Picture 438: Choking him to crush his face.
Attoh (thrusting to make him fall)
Picture 439: Against his nage waza I do a ryote darai defense. I jump up on his body and punch/grab him with my left fist and punch to his sai with my right to knock him down.
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Atama Tobi (jumping his head)
Picture 440: Using the power of the attacker's throw, I grab his hair or collar and swing him around to throw him. Picture 441: Metsubushi blind him. While being thrown I do metsubushi or "kimotsubushi," frightening or breaking his spirit, while punching in.
Picture 442: When he comes to throw me, Picture 443: I lift his right leg with my right leg to open him up and drop Picture 444: down and punch at his thigh. You may use either fist depending on the situation. Picture 445: Finish him this way.
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Picture 446: "Ai Kumi," grappling when meeting Picture 447:The opponent comes to do osoto gake or osoto kari. Picture 448: I make my body fall to the right side and use no power at all. 448 446
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Picture 449: I lay down in front of him. Picture 450: I grab him and throw him away with "choshi," harmony with him. Picture 451: For fear that he is going to finish me, I finish him instead. 449
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This is called "Osoto Tobashi" to roll forward having leaped over his body. If I follow him, my body naturally raises and I can naturally hit him with my shuki ken. Ran Setsu and Soto (crazy snow and falling fox) Through this technique is called "sutemi waza," throwing yourself completely into the technique, it is also translated as flowing water in literature. This technique should be thought of as a change in the water's flow instead of desperate flowing.
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Ran Setsu Picture 452: I grab both of his butsumetsu places. Picture 453: When he jumps in the air due to the pain, I flow my body between his legs or to the right or left to throw him. Picture 454: This is a vertical flow, up to down. Picture 455: Here I flow to the left. Picture 456: When I pull him forward he hits his face on the ground. Picture 457 & 458: He does ukemi with his hands. then I kick to his tailbone with my sokki ken while pulling with my hands so that he hits his face.
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Soto Picture 459: I come up to grab his collar. Picture 460: I grab his "amado" instead. Picture 461: Punch in.
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Picture 462: Hook my right leg to his crotch. Picture 463: Throw him. Picture 464: I sometimes change my direction to throw him differently or turn around with him. This is called "futari kaiten," two people rolling. Picture 465: Change it to "nigori nagashi," muddy flow, to punch him with your whole body.
Sutemi Nage (desperate throwing)
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Picture 466, 467, 468: From Tomoe Nage change to "tawara mawashi" which is in the middle of Tomoe Nage. This technique is made in the air. First I kick "tomoe keri" and throw his body upwards and punch him when he is coming down. In addition, I grab his body to swing my leg in any direction. Kuki Nage (throwing with the power of the wind)
This is a way of throwing him away without touching his body or spirit. Something else is used which is not part of my consciousness. I use the "kuki nage" which is supposed to be a subtle skill used without my consciousness. It has no decisive style or kata. In the ancient scrolls it is listed as a skill that "doesn't exist when you think it does, and does when you think it doesn't." It is a weird technique. Very subtle.
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Jin Ryku No Maki Kumi Uchi (grappling and hitting) I'm going to tell you that kumi uchi, taijutsu, and "shizen waza," natural techniques, were created from a natural way of living. Together these skills merge to make one flow. It is just like a blueprint to create unexpected skills and to be able to train in thousands of ways. The past martial arts delivered a hidden mysterious teaching whose depth can only be described in a poem on the gokui. "If you are dying to win in a fight, you will surely lose." (poem by Yoshinari). Ashirau (footwork) Takamatsu-Sensei used to say that in a serious fight it depended on your footwork, win or lose. In taijutsu it is important for your legs to be flexible and strong like an iron spring. They say that your should handle the nose, but to handle, ashirau, the enemy is "ashirau," footwork. So the motion of the legs and footwork is very important. So it is necessary to learn deeply the taijutsu of soccer, using your feet not your hands. I'd like you to attain the subtle way of "ashirau" to win with your skillful footwork rather than defeating with your inadequate hands.
Picture 469: Ashisabaki 1: I receive his right punch with my body movement. Picture 470: I put the tips of my toes onto his right foot. Picture 471: I thrust with my left knee like punching to his calf. Picture 472: It goes right to his weak point on the calf, yaku. Picture 473: Ashisabaki 2: I step in with my right foot while he is punching me. Picture 474: Like the picture I put my right foot behind his right leg. Picture 475: I drive his leg away with mine. This makes him fall. The way of entering with your body is called "shinobi aruki," ninja walking.
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Picture 476: Ashisabaki 3: Against his thrust, I step behind his right leg with my right foot. Picture 477: I catch his right leg and hold it there while I punch to his "sai" with my hip. Picture 478: I climb my body onto his to bend his leg. Picture 479: I do taihen diagonally forward to the left like "moguri gata," diving in waza, as he punches at me. Picture 480: I hook my right ankle to his right ankle. Picture 481 & 482: I pull him to fall down with the intention of changing my while body rather than just using the leg.
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Musan (scattered fog)
Picture 483: The opponent punches at my suigetsu. While doing taihen I catch his right wrist. Picture 484: I punch at his face with my right fist, go under his right arm and turn back his arm. Picture 485: I hit his other upper arm with my right fist and bend it. Picture 486: Or, move so as to break his elbow with ohgyaku. I can finish him and end up with his shoulder and elbow joints at the same time. Here the partner should learn how to do taihenjutsu to keep me from catching him.
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Raku Rai (falling thunder) Picture 487: I catch his right punch with my left hand. Picture 488: I punch at his right amado with my right kiten ken. Picture 489: I move my right rear hip and thigh to his thigh. Picture 490: Now I turn around my left arm with his right hand in uragyaku. Having punched at his thigh with my body, I sit down and let him fall down. While doing that you should punch at his "butsumetsu" naturally with your right shuki ken.
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Chiku Sei (bamboo voice) Picture 491: The opponent come to hit me with his right fist. I catch it while moving my body to the left. Picture 492: I step in to punch at his backbone. Picture 493: I grab the skin on his waist with "shako tori," slap and grabbing using shako ken, and hold him to do a "koshi nage," hip throw. Picture 494: Having thrown him up in the air, I crash his head down on the ground and punch at his “asagasumi" with my left sokki ken.
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Fudoh (immovable)
Picture 495: I grab the attacker's punching fist and go behind his back. Picture 496: I drive his left leg and kick it and pull him backwards to fall down. Picture 497: Finish, or I pull him down to finish. Picture 498: I sit down and do "fudo tori gata," way of holding someone immobile, while choking his waist. Picture 499: Do "suwari fudo," sitting immobile, and punch at the back of his "butsumetsu" (both of them) while letting him go. ("Doh uchi," punching at the thorax)
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Ko Ku
Picture 500: The opponent punches with his right hand and I grab it and throw it with my left hand. Picture 501: After I grab him with my right kiten ken I punch at his hoshi. Picture 502: He kicks with his right leg. I move to the left and kick up his "yaku," calf weak point, with my right leg. Picture 503: I punch at his right "butsumetsu" with my right shito ken.
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Konpi (surrounding leap) Picture
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The point of this is to be able to jump freely in any direction about 3.5 meters away from the opponent's attack. you should attain the body movement of "kasumi," mist. 506
Hito (leaping to knock down)
Picture 507: Catch the attack in any way. Picture 508: I punch down at his "jujiro," foreshoulder bone, or "kimon" with my right shitan ken or "kuchibashi ken," beak fist. Picture 509: I punch at his "omote kimon." Picture 510: Punch to make him fall down. Picture 511: I kick his "butsumetsu" with a double soku yaku ken to knock him away. Picture 512: I finish him with "keri rakka," kicking downward. Picture 513: Reacting to touching his body, I roll back. Picture 514: I'm still ready to fight in the kamae of "fushiko," crawling tiger. But I can 509 choose the direction of my roll. Sideways, backwards or forwards depending on the situation.
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Kappi
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Picture 515: The attacker punches with his right fist. I do taihen and punch at his "amado." Picture 516: Next I punch at his left "amado" with my kiten ken. Picture 517: I finish him having jumped backwards.
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In this technique as well you should do hicho at first and leap backwards further than 3 1/2 meters. You should attain the "koppo" so that you can jump and lower yourself ad quickly as possible. Gyaku Ryu Picture 518: The attacker punches with his right hand. I grab it in omotegyaku tori. He then kicks with his left leg. Picture 519: Then he punches with his left hand. I defend with a shuki ken. Picture 520: I punch to his "amado" with my right shuto and take down with the omotegyaku on his left hand.
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Picture 521: Omotegyaku Nage Picture 522: Grab him and roll forwards while breaking his knee at the weak point to finish.
Kata Maki (one-sided rolling)
Picture 523: The opponent punches with a right punch. I punch in to his "hoshi." Picture 524: Next he punches in with the left fist. I grab it by 521 522 letting it slip under my arm into my armpit. Use your body movement to hold him. Picture 525: Then I twist my upper body to hit to his left "koe" with my right shuto. Picture 526: Then I grab his arm in a gyaku tori and punch to his "amado" with my sokki ken to make him pass out.
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Ko Yoku
Picture 527: The attacker punches with right fist while I hit it with my left fist. Picture 528: Step in and crack his right betsumetsu with a right fist. Picture 529: Spontaneously I enter under his arm and put him on my back. Picture 530: Then throw him with "seoi nage." While throwing him I should be defending against any attacks that come by moving my body freely. Picture 531: I punch at his weakest point with my right fist or kicking foot while throwing him. Picture 532: When he changes I change my body movement or even "ryusui," becoming flowing water. Picture 533: I finish him while he is being crushed.
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This skill requires you to have the feeling that your arms and legs are at the center of your spirit and body, without using your own arms and legs. It is called "myoki hen," weird-odd variations.
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Renyo
Picture 535: Kamae Picture 536: the opponent punches with his right fist. I move back to the right and defend with my left by breaking his arm rather than receiving it. Picture 537: The opponent kicks me with his right leg. I throw his leg away with my right soku yaku ken. Picture 538: He comes back to grab my left collar with his right hand. Picture 539: I punch to his "amado" with my right fist. Picture 540: I grab the base of his neck. Picture 541: I drive his left foot out with my right foot while pulling his right hand. Picture 542: He falls forward. Picture 543: I grab his arm in "gyaku tori" while I am taking him down with my body. Picture 544: I hold him down then let him go and roll him on his back. I stand up. Picture 545: I kick his windpipe bone so that he will suffocate.
This technique helps you understand how to attack the opponent who has attacked and tried to escape from me.
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Shiho Dori (grabbing in four directions) This is a varying technique used to grab his arm freely in every direction and take him down in any direction.
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Picture 546: The opponent punches with a right fist. Picture 547: I begin to grab him in "Omote Oni Kudaki Gata." What I mean is that I punch his arm from outside to inside while my left hand is holding his hand.
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Picture 548: While I am doing the oni kudaki, Picture 549: The opponent defends by straightening his arm. Picture 550: I change to do a right Ippon Sugi. Picture 551: He defends against it as well and then I change it to Tachi Yume Gata (Standing Dream Technique) Picture 552: I hold him in the "Karada Moguri Gata," body diving form. Picture 553: To turn it to do "gyaku jime" and bend his joint until it breaks.
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Kasasagi
Picture 554: From Shizen no Kamae Picture 555: I punch his right punch inside to the left and punch in to his "ryusui" with my fist. Picture 556: I grab his sleeve and wait to see how things go. Picture 557: When he turns to kick me with his right leg, I let it kick his own right hand. Naturally his balance will be broken. Picture 558: I punch at his right fist upper weak point and left it upwards and punch at his "go rin" with my left kiten ken. Picture 559: While proceeding I put him down with my shito ken, or Picture 560: I do "gyaku ganseki," a reversed ganseki technique. Picture 561: I pull his right elbow while he is being finished. Picture 562: He can't bear standing and falls down. Picture 563: I punch in at his "hoshi" with my "shito ken." Picture 564: Punching in at his right Ryusui weak muscle, I finish him with my right shuki ken.
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Koh (or is also called Hanetsu Rube)
Picture 565: Posing for attack Picture 566: The attacker punches with his left fist. I keep it and flow in stepping to defend. Picture 567: The opponent kicks with his right leg. I turn it to he left and catch it with my right hand. Or rather I do as if i were flowing in a stream. Picture 568: I twist my body to avoid him without power. So to say, his body would be lifted and turn about a quarter of a turn around with my right hand. Picture 569: If I revolve him in, he would fall down, turning around and he would be ending up with his body broken.
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Gyaku Koh
Picture 570: He punches at me with his right fist. Picture 571: I grab his right kick in "chosui tori," grabbing in tune with the opponent. Picture 572: I throw him down with my body movement, or Picture 573: I begin to bend his right arm with my left foot, which means Picture 574: I grab his left foot with my left arm. I step on his right elbow with my left foot. Picture 575: By stepping in, I do both bending his right arm and crushing his right "sai" at the same time. While letting go with both hands, I jump up to break his body with both of my feet.
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Koh (different form) and Gyaku Otoshi (reverse dropping) Picture 576: It is a different form of "Koh" hen I w ted up kick his right foot up. His body would be lif as in the picture. rops to Picture 577: Then turned upside-down, he d the ground on his head.
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Josei Goshin Jutsu (Self-Protection Techniques for Women)
The number of women who are studying martial arts to protect themselves is increasing. What you should know is that the ratio of power between men and women is 7:3 respectively. You should learn this but also learn that there is an idea that one pretends to be weaker, but turns strong in a fight. This is a soldier's law. In an ancient scroll there is a secret skill called "Gosha Dori," grabbing strong men, which you should apply to keep away from strong men. Gosha Dori is a method of training in which you will grab his weak points. This training is not easy though. It is crucial that your should attack the eyes, fingers, floating ribs (the weakest part of the butsumetsu), the groin, and shin (just above the inside of the ankle.) Even the strongest men will cry when hit in that point. Next is to attack the mind. You should know the environment and go to a safe place. The men who attack women are wicked and crazy. Don't treat them as human beings. there is a "baka jikara," enormous strength, whose power under abnormal circumstances is increased by 10. So comparing to the man's 7 on the strength scale, the woman would become a 13 or so. Women cannot be safe if they train these skills uselessly, so I tell them that "goshin jutsu," heart protecting skill, is more important that the previous "goshin jutsu." In martial arts that show bravery in protecting themselves, true "gokui," divine will, is in their hearts. When you are attacked you seem not to win, but only when you desert yourself will you be helped by this "gokui.” Rohtoh
Picture 578: When the opponent comes to grab you from behind, Picture 579: Do taihen and punch up at his suzu. Picture 580: When he is helpless and hurting, Picture 581: Punch at his butsumetsu with your left "shuki ken." Picture 582: Bending the leg is concentrating on attacking. This is a method for breaking his skill.
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Hane Kujiki
Picture 583: The opponent extends his arm to grab you. Picture 584: Grab his 4 fingers divided to 2 in each hand and pull them open and back. Picture 585: Throw him down.
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The reason you should grab two fingers this way is that if I grab one finger it may break. If it breaks there is a danger that he may come back at you again even though his finger has been broken. Open his fingers as widely as possible to cause tremendous pain. The techniques "Ashi Ori", "Suzu Keri", "Hachiyou Zanshin" and "Setsu Getsu Ka" are to be taught orally.
Ryo Yoku (Both Wings)-- Yubi Nage (Finger Throw) Picture 586: First I grab his thumb. Picture 587: Next I grab his left little finger and cross both his hands Picture 588: Move into Seoi Nage with his arms in the Japanese #8 posture. Picture 589: Throw him.
"Hachiyou Dori", "Metsubushi Zanshin", and "Gorin Hen" are to be taught orally.
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Shin Sen
Picture 590: The male opponent attacks. Picture 591: Grab him and "Ryo Butsumetsu Ori" (break both butsumetsu) Picture 592: Punch his "amado" pressure point with kikaku ken and turn into the "ryu mon" point. Picture 593: Strongly attack his "hachiyo" point.
The Muni, Musan Hicho techniques are to be taught orally.
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One and Multiple Attackers Many people ask me the question, "What if many opponents attack at the same time? What should you do?" I never answer seriously by saying, "There are many things to do. It's not difficult-- no matter how many people attack you." One night I trained on the technique, "Yonin Zukami," that Takamatsu-Sensei taught me with 4 of my best students. They pushed and held me with great strength, but I hit them with my natural "Ku Tai" without resisting them and they flew away on their own force. Picture 594: "Kuki Nage" (Air Throw) Picture 595: "Futari Tori" (Grabbing Two People) Picture 596: "Futari Ate" (Punching Two People) Picture 597: "Sannin Nage" (Throwing Three People) Picture 598: "Sanpo Uchi" (Punching in Three Directions) The captured person pivots and it is easy for them to free their head and legs.
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“ Shinken Shiraha Tome" and "Shiraha Tori" The reason I divided these two techniques, even they look identical is because there is "kyojitsu," a combination of truth and deception, in the phenomenon of "tome" (stopping) and "tori," (grabbing). So we can say that "kyojitsu" is strategy or tactics. It is important to catch your opponent's sword with this "kyojitsu." Before starting this lesson I make it a rule to speak of the characteristics of the Japanese sword. The Japanese sword does not cut well if it only touches the object since it is polished vertically. It should be pulled or pushed in order to cut. Next you should know where on the sword it is easiest to cut. Generally, that would be the last 9 cm of the blade. The middle does not cut as well--you must pull or push to really cut with this portion. The base of the blade is the worst place of all. This explains how performers at the circus can climb up ladders made of sword blades or cut turnips or potatoes on their stomachs. The merchant selling toad's oil cannot be cut because he pulls the sword across his arm only slightly. But if he used a dagger that was polished vertically, he would most certainly be cut. These performances can only be done using the Japanese sword. But if his timing was off just the slightest bit, he would be cut very deeply--even with the Japanese blade. I do not suggest that martial artists study how to do these performances. I only told of these to show the characteristics of the sword. Now that you know this, you can begin to study "Muto Dori" (unarmed defense against the sword), "Shinken Gata" (live blade techniques), and "Taihenjutsu." An ancient poem states, "Hell exists beneath the raised blade, step in, and enter heaven." By mastering the points of "taihenjutsu" you will be able to read the opponent's intentions and body movements. By using this insight along with "kyojitsu" you will be able to move to where the blade is not, where it is the least dangerous, and catch the blade between your fingers or hands from the back of the blade (koppo). It is important to master this rhythm. In a real situation, it is important to not be afraid. There are too many important points to "shinken gata," so I have elected not to explain them here. I have listed the names of the techniques. Get the feeling for the techniques though the names. Muto Dori Picture 599: Seki Ryoku I step in and punch at his "suigetsu." Picture 600: Ko Ryo Picture 601: Chin Gan
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Hisaku
Picture 602: The opponent cuts at me with a dagger. Picture 603: I punch at his left "kasumi" or "hadome." Picture 604: I punch in at his "amado" with a left "shito 602 ken." Picture 605: Start squeezing his wrist. Picture 606: Grab both his legs and pull to knock him down. Squeeze his left leg with "ashi gata" and kick in at his "asagasumi" to finish him.
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Picture 607: "Fu Mo" Picture 608: "Bakko" Picture 609: "Muko Dori" Picture 610: "Shika Ashi" Picture 611: "Shuriki" Picture 612: "Akuken" Picture 613: "Gokuraku" Picture 614: "Fudo”
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"Shiraha Dome"
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Picture 615: Munen Muso No Kamae Picture 616: Become the wind while becoming one with the diagonal cut. Picture 617: Grab his right arm from underneath to time stepping in. Picture 618: Move your body so as to throw him and make him drop the sword.
"Shira Dori"
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Ki Ai Ki Shi (Feeling matching, feeling death) is to be taught orally.
"To Chaku Jutsu" "To Chaku Jutsu" was called "Ryu Sen no Jutsu" in old days and there was secret information written in it's scrolls about ninjutsu, shuriken, and kusarigama. Even though it is important to have the skills of punching, throwing, and striking with shuriken and "senban shuriken jutsu" you shouldn't forget how they have been made and the best way to use them. Once you learn the way of throwing them, you can use whatever is handy. "Tsubute and Kurumi" (Stones and Walnuts) This walnut appears to be an ordinary one, but it actually has lead in it. I often train my fingers by playing with them in my hands, but against my enemies, I would use them as projectiles. "Ishi Nage" There is a rule of how to throw stones. Only when you understand the style of "sanshin" correctly will you be able to see this.
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“Senban Nage” Picture
623: I put 9 senban shuriken in my coat. Picture 624: I hold them in my left hand. Picture 625: I grab them with my right hand. Picture 626: I throw them snapping my wrist. Picture 627: The snapping method should be done as if you are spinning a top by pulling towards yourself. In ancient times, they threw metal saucers.
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"Senban Zengo Jiyu Uchi" (Freely Throwing the Senban Forwards and Backwards) Use taihenjutsu to throw the senban freely forwards or backwards. "Metsubushi" Use metsubushi correctly with the basics of taijutsu. It is the same as throwing shuriken and senbanjutsu. After throwing the metsubushi, I punch at their butsumetsu. "Ita Shuriken" (Bo Shuriken) Throw as shown in the pictures.
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“Kakushi Buki" (concealing weapons) Concealing weapons with taijutsu helps make them more effective, but on the other hand, if your opponent notices your weapons he can use them against you unexpectedly. Always keep this in mind. Concealed weapons can also be normal natural things as well. One day Takamatsu-Sensei said to me, "Hatsumi, look at my fingernails, in a real fight you had better use this pipe rather than your own nails." I heeded his words so I kept my nails as ordinary as every other person's. But my students scream just as much when I use my finger bones against them. Picture 628: "Shuko" and "Ashiko" Picture 629: "Many kinds of iron knuckles" Picture 630: "Neko Te" (Cat Claws) Picture 631: "Kaku Shi" (Horn's Finger) Picture 632: A hidden weapon in my palm Picture 633: Ashiko Picture 634: Shuko/Ashiko Picture 635: Doku Kokeshi (poisonous wooden dolls)
"Shin Den Gokui" (Secrets Taught From God) There is a ceremony used as a step towards attaining the gokui that comes from intuition. This helps attain the subtle skills to enter "mumon" (the nothing gate). There in a room where all rooms are left open is a student in white sitting in fudo za meditating. The teaching is standing in the "Otonashi no Kamae" (soundless posture) and is approaching him in a floating boat, coming to cut him. If the student is able to avoid the cut he will have gained the "gokui." If not, he will die and be finished. This situation is very similar to that of ceramic arts. The artist will break it immediately after taking it out of the kiln if he is not pleased with his work.
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One day I was sitting in Takamatsu Sensei's house and he told me to sit there and wait with my eyes closed. "No matter what happens, don't open your eyes." I was feeling that he was coming down the stairs but I stayed relaxed. A second later I felt as though someone was attacking me diagonally from behind and I saw a shadow form splitting my body, so I laid myself down. And next I sensed as if my head were cut away from the side, so I did 635 634 "zempo ukemi" (a forward breakfall). Then quietly I sat in "Shizen Fudo Za Gamae" (Natural Immovable Seat) and heard him say, "Well Done. You may open your
eyes." I saw him standing before me. I attained this spiritual skill through an intuition I've had before, a skill taught by God. I was impressed to find that I was calm. The "gokui" refers to the teacher's strange saying, "When you expect it to exist, it really doesn't, but when you don't expect it to exist, it really does!!" I was reminded of this then and found the existence of the spirit. And with that delightful discovery, Takamatsu Sensei gave me that sword. Later he told me that this cut was "Juji Giri" (Cross-shaped Cut) and had never been defended against except by me. I remember this as if it happened yesterday. Only a year before his death, he told me that he has imparted all the martial arts to me. But nine years ago I learned to be able to say what the real martial arts was after having trained as much as I could while recuperating from my illness. The taijutsu "Godan" (5th-level black belt) test is done by my standing behind my student holding my sword with my eyes closed. Then I would cut at him with real intention. If the student avoids the cut, he will be given the "godan" award which is the first step in the martial arts. This doesn't mean that the student only has the ability to avoid my cut from behind. It also means the act of dodging and avoiding calmly in order to realize the courage of keeping just in a world where a person will try to betray you (stab you in the back--translator's addition) unexpectedly. So you can't live without knowing the dark side of society. If you learn martial arts for the skill of simply dodging a cut from behind, then it is simply acrobatics. If you have this intention, you would be kept away from the truth of life without your even knowing it. Your whole life would turn rotten and it would be like a cancer which keeps you from growing correctly. In a sense, this one cut in the figure of the Japanese number 10 will cut away that cancer from the very beginning and then you will know who can be taught and who cannot. This sense is required when I teach my students. Buddha used to teach 10 disciples, one of which failed to learn. Jesus Christ had 12 disciples, one of which betrayed him. Even with the connection between student and teacher, a failure can exist. In modern education, the relationship between teacher and student is a dead one. In today's times, the most important thing to do in peace is to acquire the true martial arts. In ancient teachings, the godan test was necessary. After having seen the student use martial arts poorly, this test allowed the teacher to kill them under one cut. When you passed the godan test inevitably the method of learning would turn to the "invisible" lessons--those which are hard to be understood. Nowadays, I am teaching my students of 20 years telling them lessons putting many meanings in it. But the students still see it as weir skills training. Even though they knew what I was teaching but they couldn't move their bodies or might be understanding but not knowing it--the weird skills begin to come to life like that. It's alright for students to say that they don't understand when they really don't. Otherwise they would be conceited. "Because you can't understand, you will improve due to fear of the unknown." I've told them this many times. One day one of my students came to me and asked me to teach him how to throw someone while walking past them. So I took him to the bank of the Edo River and tried it. We went with 4 other Shihan students and took a video camera. As the nine eyes watched we passed each other and he flew away about 5 meters into the river. He stood up bleeding from his mouth. I asked, "Did you understand it?" "No, I didn't" he replied. "Did you get it?" asking the other students. "No, but we got it on video so we'll get it later" they replied. "No you won't," I told them. Even with 9 eyes watching those master teachers couldn't figure out the trick to the technique. This is the martial arts. Taking pictures and video and writing down techniques is not enough to grasp these tricks. The essence of the martial arts cannot be stolen no matter how many techniques are announced or if the scrolls are stolen. You may take a picture of it or write it down but it is practically useless. It is best to receive lessons directly from the teacher. So now I am going to print and publish this book, introducing the written lessons with a lessons direct from Takamatsu-Sensei. It was a rule of TakamatsuSensei that the lessons he taught not be written down. This rule is extremely deep and the martial arts are even deeper so you will be sure to win. By printing this book I am breaking this rule in a way, but for the purpose of future study I described all the styles with interpretation added, hoping that every student will follow me. Even though I write this book, the deep, extreme meanings are lacking. You will realize this after a long time of training. One year before Takamatsu-Sensei passed away, he told me the most wonderful thing, "You are a good martial artist. Nobody could accomplish what you have done. Now I can repay all my indebtedness to Toda-Sensei." I could not believe these words. I had been believing that the essence of the martial arts would be acquired only several years after he called me "soke." I've been learning this type of leadership for the last nine years and I've just now decided to publish this book on taijutsu. One day I was discussing the theory of art with a music conductor living in the US. Martial arts was described in an article as a musical score. We pointed out all the similarities. The martial arts was developed from the endless nothing which is hidden at the edge between life and death which is as thin as a piece of
paper. No matter how advanced computers become, we still cannot calculate zero. Even if you could, you still could not guess the subtle weird techniques of zero (void) unless you attain this in a stable true martial art. This is where the true martial arts lives. "People say that they learn these skills for their own purposes without realizing that it is god leads them to it." --Ryuuso
Conclusion I am finally able to publish this book after 3 years of taking pictures. Togakure Ninpo Taijutsu is the general name given to cover all the nine schools of ninjutsu. The other name is Bujinkan Dojo Taijutsu. As I mentioned before in this book, taijutsu is "shinken gata" (real fighting techniques) not the sport-type techniques that are practiced on mats. These techniques are extremely dangerous and should not be shown to beginners. I want everyone to train under a qualified "Shidoshi" before entering the Bujinkan. As well, get rid of all your violent and evil tendencies. For the last 15 years I have continued working through all the tough lessons of Takamatsu-Sensei while feeling embraced by his strong love of humanity. I have truly encountered a real ancient martial art. This book may well be called the fruit of that encounter. I have referred to Takamatsu-Sensei in this book as though he were still alive as best I could. I felt this feeling again while editing this work. I feel glad that I am able to return his kindness, even if it is just one-thousandth of his. Now I am going to tell you a story of my training. There was a teacher named Akimoto-Sensei. He was the grandmaster of one of the 9 schools of ninjutsu, Gikan Kosshi Ho Jutsu. When I went over to TakamatsuSensei's house, Akimoto-Sensei was there and greeted me with a hearty, "Hello!" He was always delighted to see me. He told me, "Welcome young teacher, Takamatsu-Sensei is waiting for you." Then he led me up the stairs to where Takamatsu-Sensei was waiting. He talked with me for quite a while. During our conversation, Takamatsu-Sensei lit a cigarette and said, "Akimoto-Sensei, I need an ashtray. He replied, "Here you are," while extending it to him. Takamatsu-Sensei flicked his ashes and they fell on Akimoto's arm. He yelled, "Ouch!" and patted it out. The conversation paused for this event. Takamatsu-Sensei's and my conversation then continued and soon Akimoto-Sensei joined in. Takamatsu then lit his cigarette again and asked for the ashtray. Again, Akimoto-Sensei offered it to him and again Takamatsu-Sensei flicked the ashes on his arm. Again, he yelled, "Ouch!!" We all laughed at this funny scene. Akimoto-Sensei was an expert at staying at another person's house for nothing. When he stayed at my house it was awful and a scary situation. Takamatsu-Sensei told me that he used to practice his iaijutsu (the art of drawing the sword and cutting) on the banks of the Otone River by cutting off the heads of sparrows that would fly by. To my grief, Akimoto-Sensei got sick and died of a disease, and his death pained us greatly. Takamatsu-Sensei remarked that since he was older he should have died first. If he could have, he would have died in his place, but "Thank God I didn't!!" I would like to thank all of those teachers of mine who helped make it possible for me to write this book. "I thank you all from the bottom of my heart." --Masaaki Hatsumi (Haku Ryu Oh) "The Venerable White Dragon"
