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Sukisha Ko Ryu Bringing together all the elements of the Ninjutsu & Samuraijutsu Takamatsu-den Traditions. (Best viewed at 1024x768)

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 Koto Ryu  Koppojutsu

List Of Contents Kihon Waza:

Beginning Techniques Dakentaijutsu: Striking Atemi No Tanren:

Proper Body Conditioning Taihenjutsu

Kaitenjutsu: Rolling

Tobijutsu: Jumping Taisabaki:: Taisabaki

Methods of walking Kurai Dori

(5 Postures) Shoden no kata

(18 Techniques) Chuden no kata

(12 Techniques) Okuden no kata

(12 Techniques) Hekito no kata

(8 Techniques) Kaeshiwaza

(2 Counter techniques) Juttejutsu Kenjutsu Bojutsu Tantojutsu Heiho

(Strategy) Kyushu:

(Attacking areas)

Tobijutsu: Jumping Taisabaki:: Taisabaki

Methods of walking Kurai Dori

(5 Postures) Shoden no kata

(18 Techniques) Chuden no kata

(12 Techniques) Okuden no kata

(12 Techniques) Hekito no kata

(8 Techniques) Kaeshiwaza

(2 Counter techniques) Juttejutsu Kenjutsu Bojutsu Tantojutsu Heiho

(Strategy) Kyushu:

(Attacking areas)

Gassho

Kuji Kiri:

Sanpo gassho Kuden:

History and Traditions

 Koto Ryu  Kihon Waza Hoken (Secret Fists) Shuto ken

(Wake up rollin ro lling g strike) str ike) Use the sides of the hands, with the hand open approx 60 Degrees. Snap the hand open on impact. (The strike is used a lot.) Fudo ken (Spiritual blade)

Use the clenched fist for punching, and striking The fists involve more than just striking with the hand. By moving the legs, the speed of the fist is doubled.

 N ote: ote:

Boshi Ken

(Thumb drive fist) Use an extended thumb that is supported by a fist to jab, and strike muscle areas, and nerve endings. Shako Ken

(Claw strike) Use the palm, and the fingertips to strike strike and rake, then change this into a fist.

In this five finger fist, the five fists of the fingertips as well as the one fist of the  palm hit the target.  N ote:

Hosen Ken

(Bee sting strike) 3 fingers in a stabbing strike. Use mainly the ends of the fingers Here one strikes with three fingers. If one t hinks that such a strike is too weak, one then puts in a toe kick in the interval between the three-finger strikes. One is creat ing a rhythm. This can also be called rhythm fist.

 N ote:

Shishitan Ken

(Pinkie strike) This fist can easily be used against t he neck, underarms or other areas. Train fingers for  endurance. Kikaku Ken

(Demon horn strike) Using the thick bone on the forehead, sides, and the back of the head, in a smashing  butting action. The forehead is also a fist. Of course the fists rest on the attitude that "I am a fist", and thus one proceeds to toughen all of one's body. That is how one trains.

 N ote:

Soku Shin To

(Toe sword) Use the tips of the toes to strike, or jab the target. Sometimes it is best to first use Hicho then the geri. Sokuyaku Keri

(Sole of foot) Use the bottom ball, heel (sole) of the foot, to shove into the target. The heel contacts first. Next, one leg and two leg kicks when one's balance is upset after a single leg kick, one executes a backward roll break fall.

 N ote:

Kiri

Gaishi

(Shin / instep kick) Kick by just lifting the leg as one, not as a snap kick. Tenken Keri

(Flying kick) Kick inside to the jaw and push down as in sokuyaku geri.

Atemi no Tanren (Body Conditioning) Trees: Make full and proper contact with tree to build up striking po wer.

To begin  Atemi training one first wraps straw around a tree, and then wraps a cloth over it. It is said that in the old days animal hide was used for this purpose. Strike with the concentration from all of one's body going into the one fist. Then proceed to vary one fist into the next, conditioning them one a fter the other.

 N ote:

a Bucket: Put sand into a bucket and strike into it with various strikes. Graduate to courser material, going through gravel and o n up to small rocks. In

Partners: Make half but proper contact on skin of partner with fists and feet, to increase resistance to pain and toughening of muscles.

Taihenjutsu (Art of Changing the Body) Mae Ukemi

(Forward break fall (long and short)) Koho Ukemi

(Backward break fall into ground fighting po sture) Mae Ukemi Sokuho

Gaeshi

(Forward break fall sideways barrel roll)

Zenpo

Kaiten

(Forward roll) Koho Kaiten

(Backward break fall then backward roll (long and short)) Zenpo

Ten

(Forward handspring) Zenpo

Mawari Kaiten

(Forward diving roll (long)) Zenpo

Hicho Kaiten

(Forward diving high roll) Happo Tobi

(10 Directions leaping) Taihenjutsu is very important for those practicing martial arts. One uses it to avoid the enemy's attack, as well as for the purpose of attacking. Freedom of attack and defence is a major point in Taihenjutsu. Taihenjutsu also contains footwork, includes body drops or dives and examining or feeling out techniques. Mastering these types of techniques is as a whole known as Taihenjutsu.

 N ote:

Taisabaki

(Methods of walking) Yoko Aruki

Cross step walking, can be do ne sideways as well as forward and back.Also used to stamp on / trap opponents feet while fighting.

 Kurai Dori (Kamae) (5) 1. Ichimonji No Kamae

(Figure number one posture) The front leg is slightly bent. The co rresponding arm is out, pointing at attacker, and t he hand is open, the other hand is closed and by jakkin, standing in a 50/50 posture. From hidari ichimonji no kamae, dori migi g eri with migi arm, migi  sok u gyak u g eri to kinteki, migi g eri to supporting leg. 2. Seigan No Kamae

(Straight eye posture) As in the ichimonji no kamae except the rear hand is at obi level. The positioning of the feet in assuming these po sitions is very important. The  position of the feet completely determines the d istance. If the position of the feet is not always capable of changing correctly, it cannot be called a true seigan no kamae. It is important for there to be allowance in one's movements. Strike while remaining in the kamae. Then hit in unseen places.  N ote:

From hidari  seigan no kamae, migi tsuki to  jakkin of migi tsuki, strike to wakitsubo with hidari f udo k en ending up in  jumonji no kamae, push off balance with migi te and migi  shut o k en to butsumetsu. 3.

Hira Ichimonji No Kamae (Flat number one posture)

The feet are as in hicho no kamae but the knee is facing out to the side. The arms are out stretched to the side of the body. Recall the image of a top spinning forcefully. This involves stabilising the centre of  gravity of one's body in space. When the opponent comes in at any point, the top will flip away the opponent's attacks. That type of movement is hidden within this kamae.

 N ote:

Fall back to slap away tsuki with the same te, lean through and slap the hadome. Slap away tsuki with the other te and g eri (with same leg as slap) to  shinchu then to a saga sumi. 4. Hoi (Hoko) No Kamae

(Bear receiving posture) (Encircling posture) The left foot is slightly forwards, and the bod y is very upright. The hands are held above the head, in  shako k en.

The whole posture looks as though you are holding a large ball. The weight ratio is 70/30 forwards, make yourself look big. In o ne's mind there lies the posture of being ready to assume an offensive position at any time, the attacking posture of "I'm co ming for you".

 N ote:

 Dori tsuki push down,  shako k en to mura same and push down. 5.

Bobi No Kamae

(Defensive posture) Standing in a natural posture of 50/50, migi hand out front in f udo k en, hidari hand on kat ana.  N ote:  Bobi

no kamae contains the strong mental posture of, "Come on, any t ime!", of  always being ready to respond to the opponent's attack. Although the migi hand is held out in front, it is very important to use the front and back hands in the same way, based on movement of the feet. As this is k urai dori, the feet must move along the correct track  of victory.

Yoko ar uki to ura of tsuki, use back of  f udo k en to hadome, step back across to tsuki with other te to a saga sumi, come back into ganseki nag e.

 S hoden

Gata (18)

(1 technique, 2 henka) 1. Yokuto

(Eagles Blade) (Taloned Blade) (Wing Break) (scooping up and throwing) A:  M igi kat ate mune dori D: From S hizen No Kamae, migi kiri gai shi to kinteki, migi bo shi k en to uko. Hidari foot in and hidari happa k en to a saga sumi.

When the opponent grabs your lapel or comes in with a right punch against various attacks, one uses the same technique yok ut o. In the original warrior arts, one had to be able to change from the same opening against a variety of attacks. According to the

 N ote:

ancient teaching, you must always cover the opponents right hand that grabs your lapel with your left hand. This time the attack is with the right fist. When the opponent grabs your lapel, the manner of kicking also changes based on the positioning of the feet. The manner of punching changes as we ll. When striking in with the right thumb, one proceeds by pushing in with the left arm. Push in, and then pow! This is also very important. If you come in with t he thumb from out here, it doesn't really go in. Come in like this with the foot o n the out side, then kick and take the ear. The ear is torn. Bring him up. This time when moving in, grab the opponents left shoulder with your left hand in the manner of koppo. From here the kick goes in right away. Then push down. when you have a staff you can use the same techniques in the same manner with the staff. Techniques and weapons can be used effectively together. This is a characteristic of koppo jutsu or ancient bujutsu. 1a. Yokuto Henka A:  M igi tsuki. D: From  seigan no kamae, step back migi and uk e tsuki, migi kiri gai shi to kinteki, migi

bo shi k en to uko, migi leg back and hidari happa k en to a saga sumi. 1b. Yokuto Henka A: From ichimonji no kamae, migi tsuki , hidari tsuki. D: From seigan no kamae, uke tsuki's while stepping back, hidari kiri gai shi to kinteki,

hidari  shako k en to tenmon, hidari leg back and migi f udo k en to tenmon.  N ote

: All henka's for  yok ut o is the same technique different attacks. 2. Ogyaku

(Big reversal) (Great Lock) A: S eionag e D: From  shizen no kamae, drop body weight, push free hand into kod enko. F udo k en to

butsumetsu to drop. 2a. Ogyaku Henka

A: S eionag e D: From  shizen no kamae, drop body weight,  shako k en with free hand to kan zo. Bo shi

k en with trapped hand to  su g etsu to ground backwards. 2b. Ogyaku Henka A: Tobi from migi , apply head lock. D: Lower  shichibatsu by widening posture and bending knees. migi forearm to  jin zo, migi  shuki k en to butsumetsu. 3.

Koyoku

(Rival Scoop) (Talon and Wing) (Eagle' Talon) (Checking and Scooping) A: Hidari  seigan no kamae, migi  jodan tsuki to tenmon. D: From  seigan no kamae, hidari uk e to tsuki (no move), migi bo shi k en to butsumetsu,

ar ukizeoi to migi arm. First upset the opponent's stance with a strike, then further d isarrange him with arukizeoi (walking shoulder throw) throw, press in, then app ly gyaku.

 N ote:

3a.

Koyoku Henka

A:  M igi tsuki, migi kiri gai shi to kinteki. D: From  seigan no kamae, 45 migi to uk e and grab with hidari te, 45 mae hidari to avoid  g eri (option: uk e g eri). Pull arm as you bo shi k en to migi butsumetsu. migi  shako k en to tenmon and grab to drive back. migi leg ushiro A to nag e. 4. Shuto

(Hand sword)

(Sword hand) A:  R yote mune dori. D: From  shizen no kamae, ryote koppo k en to ka sumi, ryote dori to uko (u zimaki), and

turn to nag e. 4a. Shuto Henka A:  R yote mune dori (straight arms). D:  R yote koppo k en to nagar e, dori hi jizume, hidari bo shi k en to nerve. Turn to nag e. 5.

Hosoku

(Alternate stomp / kick / foot) (Taking and dropping) A: Hidari mune dori, migi tsuki (no step). D: From  shizen no kamae, migi dori te, hidari uk e.  M igi bo shi k en to koe, kikak u k en to menbu.

Strike the opponent's koe vital point and knock him down with the kikak u k en fist of the head.

 N ote:

5a.

Hosoku Henka

A: Turn away, turn back to tsuki to tenmon. D: From  shizen no kamae, 45 ushiro to uk e, bo shi k en to koe, kikak u k en to menbu. 6. Hote Ki

(Release and throw) (Freeing and flinging away) (Alternate hand power) A: Kat ate mune dori and tsuki.

D: From  shizen no kamae, cover dori, omote shut o k en to dori's  jakkin. change hands to cover, lift hi jizume with free hand to koppo, turn to  seionag e.

Here, one must not forget to take with the legs. At the same time look carefully at how one's own grabbing hand becomes a fist, seizing a vital point on the opponent. Then the knee also becomes a fist, executing a kick at the opponent. In this position, it becomes a kick. This is the same when the opponent grabs your hand. This time, take the opponents elbow with your elbow. Your footwork allows you to take the opponent's elbow. Now take a vital point, and move into an elbow break and throw. Here one takes three places: the elbow, the wrist, and the opponent's neck.

 N ote:

 J akkin

vital point strike. Then a back throw. Strike the jakkin, and go into gyak u zeoi. The same thing with a staff. The stepping in foot comes in with the intention of stepping at the opponent's leg. 6a. Hote Ki Henka A:  Dori migi gyak u with hidari te.

D: From  shizen no kamae, cross to dori migi gyak u with migi te, tsuki migi ho shi, yoko ar uki to move around hidari arm, dori hi jizume step across both legs to nag e, end up  sokki k en on wakitsubo or on uko, pressure arm at uragyak u and hi jizume. 6b. Hote Ki Henka A: Hidari dori and migi tsuki. D: Cover te, migi tsuki tsuki with covering te and dori dori with hidari te, migi te dori hi jizume, migi leg across A's both, pressure on hi jizume to nag e. 7. Setto

(Break and drop) (Snow sword) (Breaking and toppling) A:  M igi kat ate mune dori. D: From  shizen no kamae, cover dori, migi omote shut o k en to dori's  jakkin. Step in to

hidari bo shi k en to migi butsumetsu.  N ote: S ett o.

This contains the meaning of breaking and toppling. Hit with the right hand and strike in with the left fist. Depending o n the situation, one may also apply a gyak u.

Come up and strike down w ith the elbows. When one strike is not sufficient (one, two, t hree) attack adding a second and third strike. Then take down. With the staff as well, attack by changing in the same manner. Kick the opponent's hand with the feet. One is not hitting with the staff. If after the  shut o k en he still holds on, lift the arm, and strike with f udo k en to  jakkin to  break the elbow. The bo shi k en is so that it goes between the ribs. 7a. Setto Henka A:  R yote mune dori. D: Cover dori with ryote te's, step ushiro strike with ryote shuki k en to gyak u's, ryote koppo k en to ka sumi's,  sok u yak u g eri to  shinchu. 8. Keto

(Feathered blade) (Hook and topple) (Feathered door) A:  R yote mune dori. D: From  shizen no kamae, ryote shikan k en to omote gyak u, followed swiftly by a  sok u yak u k eri to gorin.  N ote:  K et o.

Here, strike the backs of both the opponent's hands. Then send him flying with a kick. The opponent grabs both your lapels. Lightly ho ld your hands against his, strike powerfully to the backs of the hands and send him flying with a kick. When taking in to take ori from below, it turns into a wrist reversal. Then throw from a reversal of the wrists, move into a reversal of both elbows. T hrow down. Hit with the right knee. Take from above. Strike the uko vital points and send him flying. Move so as to dodge, and punch the striking arm. Bring the elbow back, take the opponent's arm and throw. Let go of him midway.

One moves quickly here. Three or four fists strike the opponent here. Come down with  both hands, spreading the elbow. Strike the temples and send him flying with a kick. In the same manner with a sta ff: take both arms and strike the opponent's face with the  body of the staff. Then kick in. After that go after the opponent and strike him with the staff.

8a. Keto Henka A:  R yote mune dori. D:  R yote t aki ori, turn to nag e straight over back, lock  gyak u. 8b. Keto Henka A:  R yote mune dori. D: Lean on dori with crossed arms, ryote shut o k en to uko's  sok u yak u g eri to  shinchu. 9.

Saku Geki (Blossoming rage) (Flower play / drama)

(Wrenching attack) A: Attempted ryote mune dori. D: Step migi mae and strike with migi koppo k en to hidari hadome, migi  sak u yak u g eri to migi uchikorobushi.

A vertical fist strike and a lateral kick. It is important to make these two movements cross.

 N ote:

10. Batsugi

(Horse power) A:  M igi kat ate mune dori. D: From  shizen no kamae, hold in hidari omote gyak u, strike to tenmon with migi

 go shinkan k en, start hidari omote gyak u, strike to  jakkin with  shuki k en, finish omote  gyak u.  N ote:

Goshinkan ken = all of the finger tips held together. 10a. Batsugi Henka

A:  M igi kat ate mune dori. D: From  shizen no kamae, hold in hidari omote gyak u, strike to uragyak u or  nagar e with migi go shinkan k en, migi  shako k en to tenmon, start hidari omote gyak u, strike to

 jakkin with migi  shuki k en, finish omote gyak u.

11. Gan Gaki / Gan Geki

(Great learning) A: From  seigan no kamae, migi  jodan tsuki, hidari  jodan tsuki. D: From ichimonji no kamae, uk e to both tsuki's keeping te's with arms finishing in hoko no kamae.  M igi  sok u yak u g eri to  suig etsu.  N ote:

Can also do a f udo k en to  seit ak u before going into hoko no kamae. 12. Shato

(Warrior blade) (Human blade) A:  M igi kat ate mune dori, hidari  jodan tsuki. D: From  shizen no kamae, hidari dori dori, migi f udo k en to migi  jakkin, fall migi to migi

koppo k en to ka sumi, hidari k eri gai shi to kinteki. 13. Shihaku

(Death, or finger sweep) (Finger clap) A: From ichimonji no kamae, migi and hidari  jodan tsuki. D: From  seigan no kamae, hidari uk e, migi uk e, hidari g eri (k u), hidari f udo

k en to  suig etsu. The left leg kick is a feint. In reality, one strikes into the opponent's solar p lexus with one's left fist to bring him down.

 N ote:

13a. Shihaku Henka A: From ichimonji no kamae, migi and hidari  jodan tsuki.

D: From  seigan no kamae, omote migi uk e, omote hidari uk e, migi g eri to  sai, ryote  shako k en to hadome from ushiro pull down to chi. 14. Kyogi

(Discussion) (Contest) (Wiping off technique) A: From  seigan no kamae, migi and hidari  jodan tsuki. D: From  seigan no kamae, hidari uk e, migi uk e, heel to t oki, step hidari, tsuki to

butsumetsu with migi f udo k en. Here, kick the opponent's legs with sideways walking  (yoko ar uki). Then strike into the koe vital point. Then hit the opponent's leg with your knee.

 N ote:

15. Kako / Katsuko

(Fire claw) (Flaming claw / talon) A: From  seigan no kamae, migi and hidari  jodan tsuki. D: From  seigan no kamae, hidari uk e, migi uk e, migi  sok u yak u g eri to koe, migi  shit an

k en to mura same. 16. Ura Nami

(Tidal or inner wave) A: From ichimonji no kamae, migi and hidari  jodan tsuki. D: From  seigan no kamae, hidari uk e, yoko ar uki to hidari (uk e still on tsuki), migi uk e as walking, finishing yoko ar uki as migi  sak u yak u g eri to migi uchikorobushi and koppo k en to hadome.

The koppo ken to hadome is a natural movement, and is not an intentional strike to the neck. If the opponent turns to the left, the strike comes in faster.

 N ote:

17. Ten Chi / Tenshi

(Angel) (Heaven and earth) A: From ichimonji no kamae, migi and hidari  jodan tsuki. D: From  seigan no kamae, hidari uk e, migi uk e, migi kak ushi k eri (k u) to kinteki, migi  shako k en to kin.

18. Katamaki

(One sided coil) (Single twist) (Single entanglement) (One side wrap) (Single hand wrap) (Single winding) A: From ichimonji no kamae, migi and hidari  jodan tsuki. D: From  seigan no kamae, hidari uk e, migi uk e dropping into musha dori. Hidari bo shi k en to migi butsumetsu as step ushiro migi, pivot clockwise to hidari nag e no kamae to nag e.  N ote:  Kat amaki.

This is characterised by taking the opponent's hand by hugging it under  one's arm. Avoid the opponent's right fist, take the left arm with your right and strike into butsumetsu. This time, move to take out the opponent's elbow with your elbow. Sweep the legs to take him down. Taking the opponent into omote gyak u, bring him down. From here wrap around the opponent. In case the opponent's fist is strong, sweep it into kat amaki in the manner of k ennaga shi, apply the left fist, and throw. With the staff as well, take the opponent's elbow and then throw. If you cannot throw the opponent, set your leg against the opponent's left leg for an obstacle, and then send him flying. 18a. Katamaki Henka A: From  seigan no kamae, migi and hidari  jodan tsuki.

D: From ichimonji no kamae, hidari uk e, migi dori underarm, come across with hidari  shuki k en to hidari hi jizume, pull down and hidari g eri to hidari yak u to take down.

18b. Katamaki Henka A: From  seigan no kamae, migi and hidari  jodan tsuki. D: From ichimonji no kamae, hidari uk e, migi dori underarm, bring his migi arm under  and dori migi te, turn to hidari to nag e over legs. 18c. Katamaki Henka A: From  seigan no kamae, migi and hidari  jodan tsuki. D: From ichimonji no kamae, hidari uk e, migi dori underarm,  shako k en to tenmon, place hidari leg around hidari leg, push on tenmon pull on arm to nag e as you drop into nag e no kamae. (or not) Copyright Sukisha Ko Ryu.

Sukisha Ko Ryu Bringing together all the elements of the Ninjutsu & Samuraijutsu Takamatsu-den Traditions. (Best viewed at 1024x768)

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KYUSHO - Vital parts of the body KYUSHO are the vital points of the body. The areas that are susceptable to the application of force or pressure. The result will bring pain, u nconsciousness or death. There are far too many Kyusho points to name here, but the following diagrams give the locations of the major points. The ringed numbers are the most vulnerable and most commonly used. These pressure points are used both for creating and relieving pain and injuries. Experimentation must be used to find these points and to discover which weapons work best on them (for example one or two fingers dug into Murasame gives the  best effect on this point, happa ken works best on the ears, etc). The Kyusho (weak and lethal points) of the martial arts have to be u nderstood as being separate from other points you may have learned in massage. They are different from the Tsubo (healing points) used in Acupressure and Shiatsu. The effectiveness of the points will differ from person to person and some peo ple will feel absolutely no pain at all so care must be taken. The only way you can learn about the effect of these points is to have the technique done on you so you have personal experience of it. Study these diagrams and experiment with the points shown. In Ninjutsu, unlike some other arts, we do not restrict ourselves to a small number of vital points - so t hat we can  best control the opponent's body as required. 1) TENDO (crown of head) 2) TENTO (between clown & forehead) 3) KOMEKAMI (temple) 4) MIMI (ears) 5) SEIDON (eyes area) 6) MIKEN (bridge of nose) 7) GANSEI (eyes) 8) JINCHU (under nose) 9) GEKON (under lower hp) 10) MIKAZUKI (jaw) 11) SHOFU (side of neck) 12) DOKKO (behind ears) 13) KEICHU (nape of neck) 14) HICHU (larynx) 15) SONU (between throat & sternum) 16) DANCHU (sternum) 17) KYOTOTSU (sternum base) 18) SUIGETSU (solar plexus) 19) GANCHU (below nipples) 20) KYOEI (between 5th & 6th r ibs) 21) DENKO (between 7th & 8th ribs) 22) INAZUMA (body side above hips) 23) MYOJO (below navel)

24) KINTEKI (testicles) 25) SODA (between shoulder blades) 26) KATSUSATSU (middle of spine) 27) JINZO (kidney) 28) KANZO (liver) 29) KODENKO (base of spine) 30) BITEI (Spine end) 31) USHIRO INAZUMA (below buttocks) 32) YUBI (fingers) 33) KOTE (wrist) 34) SHUKO (back of hand) 35) SOTOJAKUZAWA (outer forearm) 36) UCHIJAKUZAWA (inner forearm) 37) HIJIZUME (elbow) 38) UDEKANSETSIJ (arm joint) 39) WANSHUN (back of upper arm) 40) YAKO (inside upper thigh) 41) FUKUTO (outside lower thigh) 42) HIZAKANSETSU (knee) 43) USHIROHIZAKANSETSU (behind knee) 44) KOKOTSU (shinbone) 45) SOBI (base of calf) 46) UCHIKOROBUSHI (inside ankle) 47) KUSAGAKURE (top outer edge of foot) 48) AKIRESUKEN (Achilles tendon) 49) KORI (upper instep) 50) ASHINOYUBI (toes)

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Su kisha Ko Ryu Bringing together all the elements of the Ninjutsu & Samuraijutsu Takamatsu-den Traditions. (Best viewed at 1024x768)

Basic Strikes (Tatara Ken Juroppo) 

Kikaku Ken (demon horn)

Thick bone on forehead, sides and back. (  sma shin g  , st rikin g)

Shuki Ken (waking up elbow)

Bone of the elbow. (  st abbin g). Meaty part of forearm closest elbow. (  sma shin g).

Fudo Ken (Immoveable) A.K.A. Kongo Ken,  Nio Ken

Basic clenched fist Knuckles. (  st rikin g  , sma shin g). Base of fist. (  sma shin g). Back of fist. (  sma shin g).

Shuto Ken (waking up rolling) A.K.A. Kiten Ken (wisdom)

Depending on style, fingers form 60º, 45º or curved to hand 60º ( tearin g muscl e t i ssue ). 45º ( br eakin g balance ). Curved ( br eakin g bones ).

Shishitan Ken (finger needle)

Using little finger. (  st abbin g  , st rikin g  , piercin g  , t hrowin g).

Sanshitan Ken (finger tip) A.K.A. Hosen Ken (bee sting)

Index, middle and ring finger strike at same time, (  st rikin g  ,  st abbin g).

Shako Ken (Claw)

Finger tips only to rake and claw, ( rippin g  ,  sla shin g). Finger tips plus base of hand, ( rippin g  , sma shin g  , tearin g).

Boshi Ken (thumb drive) A.K.A. Shito Ken, Hiso Ken

Extended thumb supported by fist, (  st abbin g  , drivin g  ,  st rikin g).

Shikan Ken (extended knuckle)

Either extend middle knuckle or all four as a fist. Middle only, (  st rikin g  ,  st abbin g). All four, ( drivin g  , st rikin g) .

Koppo Ken (bone)

Bent thumb supported by fist, (  st rikin g  ,  st abbin g).

Happa Ken (eight leaves) Open hands slapping, (  st rikin g  , t hrowin g  , drivin g  ,  sma shin g). A.K.A. Hachiyo Ken

Sokuyaku Geri (sole of foot)

Use whole base of foot, (  st rikin g  , sma shin g  , drivin g).

Sokki Ken (waking up knee) A.K.A. Hicho Geri

Bone of knee, ( t hrowin g  ,  sma shin g  , drivin g).

Sokushin To (toe sword) A.K.A. Sokugyaku Geri

Use toes to strike soft tissue, (  st abbin g  , st riki n g).

Tai Ken (body fist) A.K.A. Tai Atari (body smash)

Use shoulders and hips to smash or apply pressure. Shoulders, ( drivin g  ,  sma shin g  , t hrowin g) Hips, (  sma shin g  , t hrowin g)

Shizen Ken (natural fist)

Use nails and teeth etc. (   piercin g)

These are the 16 basic strikes, sometimes called the 16 striking treasures. Of course there are more strikes than these and each style/school/Ryu performs certain strikes differently. Some definitions: Smashing, hit beyond the target with the intent of breaking. Striking, hit with the intent of returning. Stabbing, hit with the intent of applying continuous pressure. Ripping, hit with the intent of r emoving the target off an opponent. Slashing, hit as a glancing strike, more defensive. Tearing, hit with the intent of severing muscle tissue. Driving, hit with the intent of directing the opponent in a specific direction. Throwing, hit with the intent of toppling or r emoving the opponents equilibrium. Piercing, hit with the intent of entering body tissue.

By Nigel Ngan

Last updated Copyright Sukisha Ko Ryu.

Koto ryu Koppojutsu y y y y y y y y

Home What is Ninjutsu Who were the ninjas What is Bujinkan Weapons Training About Tengu Ryu Events Contact Details

Schools (Ryu) y y

Togakure-ry Gyokko-ry

y y y y y y y

Kuki Shinden Kot-ry Shinden Fud-ry Takagi Yshin-ry Gikan-ry Gyokushin-ry Kumogakure-ry

Kot-ry Kot-ry ("Knocking down the Tiger School") is a school of koppo jutsu , shakenjutsu, and kenjutsu. Kaminaga Shigemi is reputed to be one Ske (head master) of this school. Masaaki Hatsumi is recognized by others as Ske of the ryu which was passed o n to him  by his teacher Takamatsu Toshitsugu.

Techniques Of Koto ryu Koppojutsu Koto-ryu stresses close-range fighting, including powerful strikes designed to break the enemy's bones (koppojutsu), and a lso pressure point strikes (kyusho-jitsu). Also, the sword-fighting (kenjutsu) style of Koto-ryu is a unique one designed to confuse the enemy and convince him that the Koto-ryu swordsman was a mere amateur.

Koto Ryu Koppojutsu y y y y y

Strikes Taihenjutsu: Kaitenjutsu (Rolling);Tobijutsu (Jumping) Taisabaki: Methods of walking Kurai Dori (5 Postures) Shoden no kata (18 Techniques)

Strikes; y y y y y y y y y y y

Hoken (Secret Fists);

Shuto ken (Wake up rolling strike) Fudo ken (Spiritual blade) Boshi Ken (Thumb drive fist) Shako Ken (Claw strike) Hosen Ken (Bee sting strike) Shishitan Ken (Pinkie strike) Kikaku Ken (Demon horn strike) Soku Shin To (Toe sword) Sokuyaku Keri (Sole of foot) Kiri Gaishi (Shin / instep kick) Tenken Keri (Flying kick)

Shuto ken (Wake up rolling strike); Use the sides of the hands, with the hand open approx 60 Degrees. Snap the hand open on impact. (The strike is used a lot.). Fudo ken (Spiritual blade);Use the clenched fist for punching, and striking. The fists involve more than just striking with the hand. B y moving the legs, the speed o f the fist is doubled. Boshi Ken (Thumb drive fist); Use an extended t humb that is supported by a fist to jab, and strike muscle areas, and nerve endings. Shako Ken (Claw strike); Use the palm, and the fingertips to strike and rake, then change this into a fist. In this five-finger fist, the five fists of the fingertips as well as the one fist of the palm hit the target. Hosen Ken (Bee sting strike); Three fingers used in a stabbing strike. Use mainly the ends of the fingers. Here one strikes with three fingers. If one thinks that such a strike is too weak, one then puts in a toe kick in the interval between the three-finger strikes. One is creating a rhythm. This can also be called rhythm fist. Shishitan Ken (Pinkie strike); This fist can easily be used aga inst the neck, underarms or  other areas. Train fingers for endurance. Kikaku Ken (Demon horn strike); Using the thick bone on the forehead, sides, and the  back of the head, in a smashing butting action. The forehead is also a fist. Of course the fists rest on the attitude that "I am a fist", and thus one proceeds to toughen all of one's  body. Soku Shin To (Toe sword); Use the tips of the toes to strike, or jab the t arget. Sometimes it is best to first use Hicho then the geri. Sokuyaku Keri (Sole of foot); Use the bottom ball, heel (sole) of the foot, to shove into the target. The heel contacts first. Next, one leg and two leg kicks when one's balance is upset after a single leg kick, one executes a backward roll break fall. Kiri Gaishi (Shin / instep kick); Kick by just lifting the leg as o ne, not as a snap kick. Tenken Keri (Flying kick); Kick inside to the jaw and push down as in sokuyaku geri.

Body

Conditioning; Atemi no Tanren

Trees: Make full and proper contact with tree to build up striking power. To beg in Atemi training one first wraps straw around a tree, and then wraps a cloth over it. It is said that in the old days animal hide was used for this purpose. Strike with the concentration from all of one's body going into the one fist. Then proceed to vary one fist into the next, conditioning them one after the other.

In a Bucket: Put sand into a bucket and strike into it with various strikes. Graduate to courser material, going through gravel and o n up to small rocks. Partners: Make half but proper contact o n skin of partner with fists and feet, to increase resistance to pain and toughening of muscles. y y y y y y y y y

Mae Ukemi (Forward break fall (long and short)) Koho Ukemi (Backward break fall into ground fighting posture) Mae Ukemi Sokuho Gaeshi (Forward break fall sideways barrel roll) Zenpo Kaiten (Forward roll) Koho Kaiten (Backward break fall then backward roll (long and short)) Zenpo Ten (Forward handspring) Zenpo Mawari Kaiten (Forward diving roll (long)) Zenpo Hicho Kaiten (Forward diving high roll) Happo Tobi (10 Directions leaping)

Taihenjutsu is very important for those practicing martial arts. One uses it to avoid the enemy's attack, as well as for the purpose of attacking. Freedom of attack and defence is a major point in Taihenjutsu. Taihenjutsu also co ntains footwork, includes body drops or  dives and examining or feeling out techniques. Mastering these types of techniques is as a whole known as Taihenjutsu.

Taisabaki (Methods of walking) Yoko Aruki; Cross step walking, can be do ne sideways as well as forward and back.Also used to stamp on / trap opponents feet while fighting.

Kurai Dori (Kamae) 1. Ichimonji No Kamae (Figure number o ne posture) The front leg is slightly bent. The co rresponding arm is out, pointing at attacker, and t he hand is open, the other hand is closed and by jakkin, standing in a 50/50 posture. 2. Seigan No Kamae (Straight eye posture) As in the ichimonji no kamae except the rear hand is at o bi level. The positioning of the feet in assuming these positions is very important. The po sition of the feet completely determines the distance. If the position of the feet is not always capable of changing correctly, it cannot be ca lled a true seigan no kamae. It is important for there to be allowance in one's movements. Strike while remaining in the kamae. Then hit in unseen  places. 3. Hira Ichimonji No Kamae (Flat number o ne posture).

The feet are as in hicho no kamae but the knee is facing out to the side. The arms are out stretched to the side of the body. Recall the image of a top spinning forcefully. This involves stabilising the centre of gravity of one's bo dy in space. When the opponent comes in at any point, the top will flip away the opponent's attacks. That type of  movement is hidden within this kamae. 4. Hoi (Hoko) No Kamae (Bear receiving posture)/(Encircling posture) The left foot is slightly forwards, and the bod y is very upright. The hands are held above the head, in shako ken. The whole posture looks as though you are holding a large ball. The weight ratio is 70/30 forwards, make yourself look big. In one's mind there lies the  posture of being ready to assume an offensive position at any time, the att acking posture of "I'm coming for you". 5. Bobi No Kamae (Defensive posture) Standing in a natural posture of 50/50, migi hand out front in fudo ken, hidari hand on katana. Bobi no kamae contains the strong mental posture of, "Come on, any time!", of  always being ready to respond to the opponent's attack. Although the migi hand is held out in front, it is very important to use the front and back hands in the same way, based on movement of the feet. As this is kurai dori, the feet must move along the co rrect track  of victory.

Shoden y y y

y y y y y y y y y y y y y y y

y

Gata

1. Yokuto (Eagles Blade)(scooping up and t hrowing) 2. Ogyaku (Big reversal) (Great Lock) 3. Koyoku (Rival Scoop)(Talon and Wing)(Eagle' Talon)(Checking and Scooping) 4. Shuto(Sword hand) 5. Hosoku (Alternate stomp / kick / foot)/(Taking and dropping) 6. Hote Ki (Release and throw)/(Freeing and flinging away) 7. Setto (Break and drop)/(Snow sword)/(Breaking and toppling) 8. Keto (Feathered blade)/(Hook and topple)/(Feathered door) 9. Saku Geki (Blossoming rage) (Flower play / drama) (Wrenching attack) 10. Batsugi (Horse power) 11. Gan Gaki / Gan Gek i (Great learning) 12. Shato (Warrior blade) (Human blade) 13. Shihaku (Death, or finger sweep)/(Finger clap) 14. Kyogi (Discussion)/(Contest)/(Wiping off technique) 15. Kako / Katsuko (Fire claw) / (Flaming claw / talon) 16. Ura Nami (Tidal or inner wave) 17. Ten Chi / Tenshi (Heaven and earth) / (Angel) 18. Katamaki (One sided coil) / (Single twist)

1. Yokuto (Eagles Blade)(scooping up and throw ing)

A: Migi katate mune dori D: From Shizen No Kamae, migi kiri gaishi to kinteki, migi boshi ken to u ko. Hidari foot in and hidari happa ken to asagasumi. When the opponent grabs your lapel or comes in with a right punch against various attacks, one uses the same technique yokuto. In the original warrior arts, one had t o be able to change from the same opening against a variety of attacks. According to the ancient teaching, you must always cover the opponents right hand that grabs your lapel with your left hand. This time the attack is with the right fist. When the opponent grabs your lapel, the manner of kicking also changes based on the positioning of the feet. The manner of punching changes as well. When striking in with the right thumb, one proceeds  by pushing in with the left arm. Push in, and then pow! This is also very important. If you come in with the thumb from out here, it doesn't really go in. Come in like this with the foot on the out side, then kick and take the ear. The ear is torn. Bring him up. This time when moving in, grab the opponents left shoulder with your left hand in the manner of  koppo. From here the kick goes in right away. Then push down. when you have a staff  you can use the same techniques in the same manner with the staff. Techniques and weapons can be used effectively together. This is a characteristic of koppojutsu or ancient  bujutsu. y

2. Ogyaku (Big reversal) (Great Lock)

A: Seionage D: From shizen no kamae, drop body weight, push free hand into kodenko. Fudo ken to  butsumetsu to drop. y

3. Koyoku (Rival Scoop)(Talon and Wing)(Eag le' Talon)(Checking and Scooping)

A: Hidari seigan no kamae, migi jodan tsuki to tenmon. D: From seigan no kamae, hidar i uke to tsuki (no move), migi boshi ken to butsumetsu, arukizeoi to migi arm. First upset the o pponent's stance with a strike, then further  disarrange him with arukizeoi (walking shoulder throw) throw, press in, then apply gyaku. migi leg ushiro A to nage. y

4. Shuto(Sword hand)

A: Ryote mune dori. D: From shizen no kamae, ryote koppo ken to kasumi, ryote dori to uko (uzimaki), and turn to nage. y

5. Hosoku A: Turn away, t urn back to tsuki to tenmon.

D: From shizen no kamae, 45 ushiro to uke, boshi ken to koe, kikaku ken to menbu. y

6. Hote Ki (Release and throw)/(Freeing and flinging away)(Alternate hand power)

A: Katate mune dori and tsuki. D: From shizen no kamae, cover dori, omote shuto ken to dori's jakkin. Change hands to cover, lift hijizume with free hand to koppo, turn to seionage. Here, o ne must not forget to take with the legs. At the same time look carefully at how o ne's own grabbing hand  becomes a fist, seizing a vital point on the opponent. Then the knee also becomes a fist, executing a kick at the opponent. In this position, it becomes a kick. This is the same when the opponent grabs your hand. This time, take the opponents elbow with your  elbow. Your footwork allows you to take the opponent's elbow. Now take a vital point, and move into an elbow break and throw. Here one takes three places: the elbow, the wrist, and the opponent's neck. Jakkin vital point strike. Then a back throw. Strike the  jakkin, and go into gyakuzeoi. The same thing with a staff. The stepping in foot comes in with the intention of stepping at the opponent's leg. A: Hidari dori and migi tsuki. D: Cover te, migi tsuki tsuki with covering te and dori dori with hidari te, migi te dori hijizume, migi leg across A's both, pressure on hijizume to nage. y

7. Setto (Break and drop)/(Snow sword)/(Breaking and toppling)

A: Migi katate mune dori. D: From shizen no kamae, co ver dori, migi omote shuto ken to dori's jakkin. Step in to hidari boshi ken to migi butsumetsu. Setto. This contains the meaning of breaking and toppling. Hit with the right hand and strike in with the left fist. Depending on the situation, one may also apply a gyaku. Come up and strike down with the elbows. When one strike is not sufficient (one, two, three) attack adding a second and third strike. Then take down. With the staff as well, attack by changing in the same manner. Kick the opponent's hand with the feet. One is not hitting with the staff. If after the shuto ken he still holds on, lift the arm, and strike with fudo ken to jakkin to break the elbow. The  boshi ken is so that it goes between the ribs. y

8. Keto (Feathered blade)/(Hook and topple)/(Feathered door)

A: Ryote mune dori. D: From shizen no kamae, ryote shikan ken to omotegyaku, followed swiftly by a sokuyaku keri to gorin. Keto. Here, strike the backs of both the opponent's hands. Then send him flying with a kick. The opponent grabs both your lapels. Lightly hold your  hands against his, strike powerfully to the backs o f the hands and send him flying w ith a kick. When taking in to t ake ori from below, it turns into a wrist reversal. Then throw

from a reversal of the wrists, move into a r eversal of both elbows. Throw down. Hit with the right knee. Take from above. Strike the uko vital points and send him flying. Move so as to dodge, and punch the striking arm. Bring the elbow back, take the opponent's arm and throw. Let go of him midway. One moves quickly here. Three or four fists strike the opponent here. Come down with both hands, spreading the elbow. Strike the temples and send him flying with a kick. In the same manner with a staff: take both arms and strike the opponent's face with the bod y of the staff. Then kick in. After that go after the opponent and strike him with the staff. y

9. Saku Geki (Blossoming rage) (Flower play / dra ma) (Wrenching attack)

A: Attempted ryote mune dori. D: Step migi mae and strike with migi koppo ken to hidari hadome, migi sakuyaku geri to migi uchikorobushi. A vertical fist strike and a latera l kick. It is important to make these two movements cross. y

10. Batsugi (Horse power)

A: Migi katate mune dori. D: From shizen no kamae, hold in hidari omote gyaku, strike to tenmon with migi goshinkan ken, start hidari omote gyaku, strike to jakkin with shuki ken, finish omote gyaku. Goshinkan ken = all of the finger tips held together. y

11. Gan Gaki / Gan Geki (Great learning)

A: From seigan no kamae, migi jodan tsuki, hidari jodan tsuki. D: From ichimonji no kamae, uke to both tsuki's keeping te's with arms finishing in hoko no kamae. Migi sokuyaku geri to suigetsu. Can also do a fudo ken to seitaku before going into hoko no kamae. y

12. Shato (Warrior blade) (Human blade)

A: Migi katate mune dori, hidari jodan tsuki. D: From shizen no kamae, hidar i dori dori, migi fudo ken to migi jakkin, fall migi to migi koppo ken to kasumi, hidari keri gaishi to kinteki. y

13. Shihaku (Death, or finger sweep)/(Finger clap)

A: From ichimonji no kamae, migi and hidari jodan tsuki.

D: From seigan no kamae, hidar i uke, migi uke, hidari geri (ku), hidari fudoken to suigetsu. The left leg kick is a feint. In reality, one strikes into the opponent's solar plexus with one's left fist to bring him down. y

14. Kyogi (Discussion)/(Contest)/(Wiping off technique)

A: From seigan no kamae, migi and hidari jodan tsuki. D: From seigan no kamae, hidar i uke, migi uke, heel to to ki, step hidari, tsuki to  butsumetsu with migi fudo ken. Here, kick the opponent's legs with sideways walking (yoko aruki). Then strike into the koe vital point. Then hit the o pponent's leg with your  knee. y

15. Kako / Katsuko (Fire claw) / (Flaming claw / talon)

A: From seigan no kamae, migi and hidari jodan tsuki. D: From seigan no kamae, hidari uke, migi uke, migi sokuyaku geri to koe, migi shitan ken to murasame. y

16. Ura Nami (Tidal or inner wave)

A: From ichimonji no kamae, migi and hidari jodan tsuki. D: From seigan no kamae, hidar i uke, yoko aruki to hidari (uke still on tsuki), migi uke as walking, finishing yoko aruki as migi sakuyaku geri to migi uchikorobushi and koppo ken to hadome. The koppo ken to hadome is a natural movement, and is not an intentional strike to the neck. If the opponent turns to the left, the strike comes in faster. y

17. Ten Chi / Tenshi (Heaven and earth) / (Angel)

A: From ichimonji no kamae, migi and hidari jodan tsuki. D: From seigan no kamae, hidar i uke, migi uke, migi kakushi keri (ku) to kinteki, migishako ken to kin. y

18. Katamaki (One sided coil) / (Single twist)

A: From ichimonji no kamae, migi and hidari jodan tsuki. D: From seigan no kamae, hidar i uke, migi uke dropping into musha dori. Hidari boshi ken to migi butsumetsu as step ushiro migi, pivot clockwise to hidari nage no kamae to nage. Katamaki. This is characterised by taking the opponent's hand by hugging it under one's arm. Avoid the opponent's right fist, take the left arm with your right and strike into

 butsumetsu. This time, move to take out the opponent's elbow with your elbow. Sweep the legs to take him down. Taking the opponent into omote gyaku, bring him down. From here wrap around the o pponent. In case the opponent's fist is strong, sweep it into katamaki in the manner of kennagashi, apply the left fist, and throw. With the staff as well, take the opponent's elbow and then throw. If you cannot throw the opponent, set your leg against the opponent's left leg for an obstacle, and then send him flying.

Sukisha Ko Ryu Bringing together all the elements of the Ninjutsu & Samuraijutsu Takamatsu-den Traditions. (Best viewed at 1024x768)

Sukisha Ko Ryu Home Page

Goto Shinden Fudo Ryu Jutaijutsu

 S hinden

Fudo Ryu

 Dakentaijutsu List Of Contents Kihon Waza:

Beginning Techniques Dakentaijutsu: Striking Atemi No Tanren:

Proper Body Conditioning Ten no kata

8 Techniques Chi no kata

8 Techniques Shizen Shigoku no kata

10 Techniques Kuden:

History and Traditions

 S hinden

Fudo Ryu

 Kihon Waza Tatara Ken (Secret Fists) Fudo ken

(Spiritual blade) Use the clenched fist for punching, and striking The fists involve more than just striking with the hand. By moving the legs, the speed of the fist is doubled.

 NOTE :

Sweeping fudo ken as you walk to kage. Here rather than punching with the hand, bring the leg forward first and throw the fist at the opponent. This; is a characteristic of the fist of Shinden Fudo-ryu. One  punches in a straight, natural manner. This fist is not twisted here. Thus, for instance, when punching the opponent's throat, the punch is set up from here. It is already determined here. This makes the punch strong. Then launch forward.  NOTE :

Here you walk forward, opening to the side based on the manner of walking, at which time you punch naturally. This punch is for when you are walking past each other.punch in from below. You punch naturally. Walk naturally in this manner. Shifting to the side, punch with the fist. So you do not punch straight. You walk like this and

 NOTE :

deliver a vital point strike in a natural manner. Walking like this, shift the legs a little and strike. Shuto ken

(Wake up rolling strike) Use the sides of the hands, with the hand open approx 60 Degrees. Snap the hand open on impact. (The strike is used a lot.) Shako Ken

(Claw strike) Use the palm, and the fingertips to strike and rake, then change this into a fist. In this five finger fist, the five fists of the fingertips as well as the one fist of the  palm hit the target. Also use in a slapping motion.  N ote:

Kikaku Ken

(Demon horn strike) Using the thick bone on the forehead, sides, and the back of the head, in a smashing  butting action. The forehead is also a fist. Of course the fists rest on the attitude that "I am a fist", and thus one proceeds to toughen all of one's body. That is how one trains.

 N ote:

Sokuyaku

Geri

(Sole of foot) Use the bottom ball, heel (sole) of the foot, to shove into the target. The heel contacts first. Next, one leg and two leg kicks when one's balance is upset after a single leg kick, one executes a backward roll break fall.

 N ote:

Juji Geri

(Cross kick) Kick the foot across the other leg low as walking, not as a snap kick.

Taihenjutsu

Ukemi

With a partner do hip throws while landing on your own feet. The break fall here is very important. When thrown with a back throw while wearing a sword, it is very dangerous if you don't land feet first. Put on a sword. Put on a long and short sword. The fact of the two swords is important. When you co me in here, you have to come in between the swords. Break the fall in this manner.

 N ote:

Zenpo

Kaiten

(Forward roll, relaxed) Koho Kaiten

(Backward roll and push up then tobi for distance)

Atemi no Tanren (Body Conditioning) Trees: Use fallen branches across shoulders to swing and strike trees and to lift as weights to condition hips and legs.

Before all, knowing nature is the foundation. Thus one trains by using the things of  nature to make the bod y strong. First one must condition the legs and hips.

 N ote:

Make full and proper contact with tree to build up striking power with strikes and kicks.

Then one must condition the fists. Here, doing body strikes against a tree, part of a withered tree broke off and fell. Beco ming able to sense such things is also part o f the training. This nice sized tree could be used to toughen the forehead.

 N ote:

Climb tree and strangle with legs also dropping back for a type of situp .  N ote:

One uses trees to practice the do- jime torso srangle.

Use young trees, rest arm on them and force to bend by stepping in all directions.

For the t ai jutsu of  ganseki-nag e throws, making use of this bamboo's elastic force is very significant for strengthening one's body. Discovering such po ssibilities, one would train using the bamboo to increase one's power. The ganseki-nag e differs depending on direction. Thus one bends the bamboo while changing position.

 N ote:

Step around a tree as if to throw. Juji geri to trees as walking.

Walking through a bamboo grove one practises the unique kicking method of  S hind en-ryu. This is training in t ak e-ori ("bamboo break") kicking. One walks and kicks without stopping.

 N ote:

Breaking old branches with shuto.  N ote:

Here, rather than breaking at once, one breaks gradually, with a series of blows.

Strip bark from trees with shako.  N ote:

Then one tears bark off trees. This is similar to tearing human skin.

Grabbing

the core of an old tree and pull it out.

One grabs and crushes, or grabs and holds, a withered core inside a big tree. This training increases gripping strength for chokes or seizing muscles.

 N ote:

For training in the ancient teachings one did not build a dojo or make training tools and then train. One wou ld foremost use the things of nature.

 N ote:

Beginning Techniques 1. Ganseki Nage

(Throwing a big rock) A: Migi tsuki D: Fall ushiro to uke, step mae migi putting other arm between A's hidari arm and  butsumetsu, step between legs, strike with shako ken to doko raise both arms into hira ichimonji no kamae turn away from A to nage. 2.

Ganseki

Otoshi

(Dropping a big rock) A: Migi tsuki D: Fall ushiro to uke, step mae migi putting other arm between A's hidari arm and  butsumetsu, step between legs, strike with shako ken to doko raise both arms into hira ichimonji no kamae turn away from A and pull in to drop A at your feet.

Shinden Fudo Ryu DakentaiJutsu Ten No Kata

(8 Techniques) (1 technique/2 henka) 1. Nichi Geki

(Solar Strike) A: K umi uchi , attempts  seio nag e. D: Hidari te between himself and A's knuckles, migi te lies on top of other arm palm facing up (does not mune dori), drop body weight, lift migi te toward tenmon, keep knees next to knees, turn anti clockwise, place migi foot behind migi foot (keep knees bent)  push tenmon to nag e. Stomp butsumetsu to finish.

In S hind en F udo- R yu, this right hand is the trick. Moreover, there are no set  postures. Body change becomes the postures. The opponent comes with a back throw. Here it is important to drop the hips, but t he hand is even more important. One uses it, for  example, to find the opponent's weapons. This is one possibility. Let's go to the next.  N ote:

1a. Nichi Geki Henka A: K umi uchi , attempts  seio nag e,while wearing swords. D: Cover migi te, force tsuba into kag e with migi te (or if unarmed f udo k en).

The opponent grabs you and goes to apply a technique. Using this hand, a vital  point attack results. His sword guard hits a vital point.  N ote:

1b. Nichi Geki Henka A: K umi uchi , attempts  seio nag e,while wearing swords. D: Reach ushiro and dori scabbard with hidari te, bring back to dori A's migi te,  jime with migi te pushing  shot o, hidari giri to migi yak u to take down.

The opponent grabs and goes to apply a technique. Here, the sword guard strikes into the ribs. Or, as the opponent comes in, take his scabbard from behind. This way one can control the opponent using his swords. One can choke here using the swords.

 N ote:

1c. Nichi Geki Henka A: K umi uchi , attempts  seio nag e. D: Hidari  shuki k en to butsumetsu.

The opponent comes to apply his technique. Strike in here with the e lbow. This alone can defeat the opponent.

 N ote:

1d. Nichi Geki Henka A: K umi uchi , attempts  seio nag e. D:  M igi f udo k en to  shichibatsu and control migi te with pressure.

A strike to the  shichibatsu vital point. This too makes him submit. This is o ne  possibility.  N ote:

1e. Nichi Geki Henka A: K umi uchi , attempts  seio nag e. D: Cross migi te over and (a: f udo k en to a saga sumi) (b:) slap a saga sumi, hidari te under  to use bottom of  f udo k en to strike  shichibatsu / koe area. (c:)  shut o k en to uko, hold other  side with hidari te to  jime, twist head to throw away.

Take the opponent in this manner. Take him like this. Then strike the opponent. This is a variation against a throw. Once more. Move like this, without striking the face,  pulling back with the hand. From there, strike in and choke. Then turn him around. You use a head hold.  N ote:

1f. Nichi

Geki

Henka

A: K umi uchi , attempts  seio nag e. D:  J uji no kamae to ushiro to nag e no kamae, to break back and nag e.

or  D:  J uji no kamae to mae with hidari leg, walk around to take down ushiro, f udo k en to

a saga sumi.

This time the opponent comes in to throw. Step across with your feet. Use your  legs. Here you can break his back. Let's do another one. This time move in the other  direction. From here, going down with your leg, take him this way.

 N ote:

2. Gekkan

(Moon Liver) A:  M igi tsuki to tenmon. D: Hidari uk e (glide type) and dori, migi tsuki to migi uko and dori (optional  shuki k en to a saga sumi) migi giri to gorin, stepping back to take down (optional breakfall over arm) (option if he is wearing swords, lean on arm and pull on scabbard) (option if you are wearing swords draw and cut neck), f udo k en to happa and finish in g edan ichimonji no kamae.

The opponent comes with a punch. Dodge by avoiding the strike. Then turn to the side. Then as you take the opponent's shoulder. If he comes with the other hand, you can avoid the strike. This is important. If you want to do something nastier, move in like this, with an elbow strike. This type of body movement is important. Move in and kick. Then  bring down forward. The arm is the crux here. Moving forward across it, falling across the arm, you can break it. This is one point. He punches. Avoid.  N ote:

When you move in here, as you can see, the swords can hit you. ~ That is why I moved into the space between the hilts. From here, you cannot kick with your feet. In such a case, draw back and kick. Then pull him forward with a broad movement. The opponent falls forward. Here, the opponent displaces his own r ibs with his sword guard. Then as you lean on his arm and pull on his sword, the o pponent is forced to submit. The opponent punches. Move into here. From there, lift the elbow and come in with the knee. Then draw back. The sword guard goes into the ribs. Then as you lean on the arm it  becomes painful. If you lift the sword it beco mes even more painful. In this way, when the opponent is wearing swords, just some simple techniques ca n be very powerful. This time you are both wearing swords. The opponent punches. Now use the other sword to stab. 2a. Gekkan Henka A:  M igi tsuki to tenmon while wearing swords. D: Hidari uk e (glide type) and dori, migi te to kat ana, pull up to matsukaze and tsuki a saga sumi at same time, hidari te to k eichu to  jime, move into headlock with hidari leg mae, twist head, pull kat ana to nag e.  N ote: The

opponent comes in. Strike him with this. Then choke. Bring head down and choke. Then throw. When throwing, use the hilt like this.

2b. Gekkan Henka A:  M igi tsuki to tenmon while wearing swords. D: Hidari uk e (glide type) and migi giri to gorin, migi te to scabbard and pu ll around to take down mae pulling on scabbard lean across and pull up on sword as well, draw and cut neck 

Punch. When you've moved out to a distance, come in with a kick. Then rather  than taking the shoulder, take his scabbard. Then take him down in this direction. Then squeeze like this with the swords. Then draw the sword, and holding him down. Cut.

 N ote:

3.

Fubi

(Brought down by the wind) A: Cross hands (hidari g edan, migi  jodan) ryote mune dori in  jime. D: Move head from jime, drop weight, raise arms ryote dori daimon, t obi into do  jime, tsuki to tenmon with base of migi f udo k en, slide down, koho kaiten to finish. 3a.

Fubi Henka

A:  R yote mune dori. D:  R yote dori daimon, t obi into a shi  jime, tsuki to tenmon with base of migi f udo k en, pull ryote yak u to chi on back, finish with kagat o k en to  shinchu. 3b,c.

Fubi Henka

A: Cross hands (hidari g edan, migi  jodan) ryote mune dori in  jime (with swords). D: Go over hidari arm, push kat ana ushiro.

When the opponent comes in wearing a pair of swords, if you take t he swords like this he will stagger back.

 N ote:

D:  Dori kat ana, hit  hi jizume and push

Some people say that when the opponent is wearing two swords you have to squeeze from outside.When squeezing from outside, you can do something like this. Then eventually you can proceed to draw.

 N ote:

3d.

Fubi Henka

A: Cross hands (hidari g edan, migi  jodan) ryote mune dori in  jime (with swords).

D: Move head from jime, drop weight, raise arms push katana, ryote dori daimon, t obi into do  jime, tsuki to a saga sum with katana handle, slide down, koho kaiten, grab and nage dirt to finish.

When the opponent has co me in like this, you have to lift the sword as you go to grasp. When he comes to grab, lift his swords as you grab his shoulders. Then leap like this. Hit with the hilt. Then fall back and get right up. Rather than just falling, you can throw things into his eyes and the like. There are many variations when the opponent is wearing a pair of swords.

 N ote:

3d.

Fubi Henka

A: Cross hands (hidari g edan, migi  jodan) ryote mune dori in  jime. D:  R yote dori daimon, and skin, under arms to uko, pressure into  sant o's, step around entraping their body between legs and push over on hadome to push head into chi.

When the opponent comes with a c hoke, grasping his shoulders from inside in front is one technique. Press in here. Then come in from behind like this. Squeeze his torso and press down on his jaw.

 N ote:

4. Uryu

(Rain dragon) A: From ushiro, half neilson. D: Ot o shi body weight, dori migi te, lean hidari, step migi, bringing migi arm over into ura gyak u, nag e no kamae to nag e on head. 4a. Uryu Henka A: U  shiro bear hug, migi te on top. D: Ot o shi body weight, take hold of A's migi fingers and pull out to migi, step ushiro with hidari foot behind A's migi foot, step ushiro onto migi knee to nag e. 4b. Uryu Henka A: From ushiro, half neilson. D: Pull arms down, dori te's, press into gokoku with thumbs, lift te's, step under to migi and sit on A's leg, let go hidari te, go into ura gyaku, walk to nage

From this hold, rather than trying to escape, it is important to bring his hands down. From there, you can take his hands. Here, you press into the gokoku vital point.

 N ote:

Get his leg here. From there continue with this hold. I let it go because it hurts. Then throw him forward. This is one version. 4c. Uryu Henka A: From ushiro, half neilson.D: Raise arms, dori tento, nage, keep hold, hit with sokki ken.

Next with your arms up high, you can pull like this to throw him over. Holding with the fist, hit him with your knee. Let's go to the next variation.

 N ote:

4d. Uryu Henka A: From ushiro, full neilson. D: Bend migi, dorimigi leg, pull, ukemi on A to crush.

The opponent holds you firmly. He also gets your neck. You can't use your hands. Move like this. Press down.

 N ote:

5.

Unjaku / Hibari

(Cloud sparrow) A:  M igi tsuki to tenmon. D: Ot o shi migi mae into nag e no kamae, migi f udo k en to a saga sumi, migi te dori sleeve under hidari wanshun, step around beside into nag e no kamae again to nag e. 5.

Unjaku / Hibari Counter

D:  M igi tsuki to tenmon while wearing swords. . A: Ot o shi migi mae into nag e no kamae, migi f udo k en to a saga sumi. D: Slightly draw sword allowing them to tsuki handle.  NOTE :

Use this to parry the opponent's punch. 5a.

Unjaku / Hibari Henka

A:  M igi tsuki to tenmon while wearing swords. D: Ot o shi migi mae into nag e no kamae, dori A's sword, draw sword and hit nose with tsuba while standing, draw sword completly and tsuki with sword to kag e.

 NOTE :

The opponent punches. Avoid. Move up while drawing the sword. Then stab. 5b.

Unjaku / Hibari Henka

A:  M igi tsuki to tenmon. D: Ot o shi hidari mae into nag e no kamae, sliding down A's migi yak u and landing on t oki with  sokki k en, tsuki to kinteki, shoulder to under migi arm as you stand, g eri to a saga sumi.

Come in like this. The hand co mes in together. Also come in with the shoulder. The punch goes in together, then the kick. Kick in a way that he can't see it. You can deliver a series of kicks.

 NOTE :

5b.

Unjaku / Hibari Henka

A:  M igi tsuki to tenmon. D: Ot o shi, dori migi t oki, shoulder to kak u (migi to migi), zen po kaiten, migi  shut o k en to uko.  NOTE :

Next go in like this, taking out the knee. 6. Setuyaku

(Snow gleam) (Dancing snow) A:  M igi tsuki to tenmon. D: U ke  and dori, dori hi jizume with other te, lift to break balance, twist into shoulder  nag e, finish with  sokki k en to kiriga sumi. 6a. Setuyaku Henka A:  M igi tsuki to tenmon. D:  Dori tsuki, turn A's arm over, step in and break hi jizume over migi forearm, lift  balance, pull arm out  shuki k en to kag e, turn and step across both legs to shoulder nag e, finish with folding arm ushiro head and hold with  sokki k en.

The Opponent comes punching. Here, it is important to rotate his wrist. Strike in, moving with the body. The e lbow hits here as well. The strike goes in here. From there, move in with the hips and throw the opponent. From there, hold him down. You are  pressing down on his neck and twisted arm.  NOTE :

6a. Setuyaku Henka A:  M igi tsuki to tenmon. D:  Dori tsuki, move out hidari and dori hi jizume, step across ushiro both legs, pull down to nag e,  sokki k en to butsumetsu, fold arm ushiro head then pull up as you apply second  sokki k en to kiriga sumi.

The opponent punches. Avo id. This time, do not twist his arm. When not twisting, move here into omote-gyaku, applying it with the legs. Applying the gyaku, take him down. The vital po int strike with the elbow goes in right awa y. Sometimes the term "elbow" (hiji) is used in reference to the legs. Then apply gyaku. Press down with the knee and apply a total choke.

 NOTE :

7. Musan(Fog scattering) A:  M igi chudan tsukiD: Swivel migi leg ushiro out of way, dori tsuk i with hidari te, migi fudo ken to tenmon to lift balance, go under arm twisting it up and ushiro, migi shuto ken to wanshun. 8. Karai

(Mist thunder) A: Kat ate mune dori. D:  Dori under, step ushiro with hidari leg, migi tsuki to kag e, dori daimon, lift, change feet to pull down,  sokki k en to k eichu and other  sokki k en into kod enko, keeping arm up  between legs and push down on palm. 8a. Karai Henka A: Kat ate mune dori. D:  Dori under, step migi mae, migi tsuki to kag e, dori daimon, step ushiro to take down,  bend your body over A's hand in t aki - ori, pull other arm ushiro and up at hi jizume.

Rather than punching with the hand, use the legs to deliver the hand to the opponent's vital points. Bring it there and t hen hit. From there, draw back. Then fold the hand into t ak e-ori. Take the hand into t ak e-ori and apply a joint reversal to the elbow. Then take the other arm and get his spine.

 NOTE :

8b. Karai Henka A: Kat ate mune dori.

D:  Dori over, step hidari mae,  shuki k en to hi jizume to push, migi tsuki to kag e,  shuki k en to butsumetsu, dori daimon, pull down by walking ushiro, Taki - ori te and hold with  body, twist and pull other arm ushiro and up at hi jizume, bend body up ushiro and push down on kod enko to break.

This time, when the opponent grabs your lapel, move like this with his grabbing hand to punch him in the solar plexus. Bring the punch in like this. Punch by hiding the fist so that the opponent cannot see it. Then the elbow goes in. Punch, then the elbow. Then pull his arm out straight. Taking both his arms, attack his spine.

 NOTE :

Sukisha Ko Ryu Home Page

 S hinden

Fudo Ryu

 Jutaijutsu List

Of Contents

Kihon Waza:

Beginning Techniques Contained in Dake ntaijutsu: part of the Ryu Kamae no kata:

5 postures Shoden no kata:

16 Techniques Chuden no kata:

11 Techniques Okuden no kata:

8 Techniques Kuden:

History and Traditions

Shinden Fudo Ryu Jutaijutsu Kamae Kata

(5 Postures) 1. Fudoza No Kamae

(Za Kamae) (Meditation Posture) Sitting with right foot into left knee and behind on heel of left foot. 2. Hira Ichimonji No Kamae

(Flat Number One Posture) (Receiving Posture) Standing straight up, knees slightly bent, hands straight out at sides. 3.

Seigan No Kamae

(Straight eye posture) The left leg is forward, and slightly bent. The left arm is pointing at the opponent's heart, the hand is open. The right hand is in fudo ken and held behind the head. 4. Katate Seigan No Kamae

(One Handed Straight eye posture) The left leg is forward, and slightly bent. The left arm is pointing at the opponent¶s eyes, the hand is open. The right hand is in fudo ken and held behind the head. 5.

Shizen No Kamae

(Natural Posture) Standing straight up, feet, shoulder width apart, knees slightly bent, hands in fudo ken on hips. NOTE: Combine all so that they are postures not poses.

Shinden Fudo Ryu Jutaijutsu Shoden Gata

(16 Techniques) (1 technique/2 henka) 1. Kata Mune Dori

(Single Chest Capture) A: With migi te dori hidari mune. D:  Dori te with both te's, migi k eri to kag e, dori migi daimon with migi te, pull while stepping ushiro onto migi knee, t ak e ori to finish. 1a. Kata Mune Dori Henka A: From f udoza no kamae, come up on the migi foot, dori mune with the migi te. D: From f udoza no kamae, cover the te and dori it in two handed ura gyak u, migi k eri to  gorin, go up onto migi knee sitting next to A and putt ing hidari te into ura gyak u on the floor (the arm is bent at 90 degrees), migi te holds A's te on floor and with the hidari  pulls the hi jizume, this is called te k ubi. 2. Gyaku Kata Mune Dori

(Reverse Single Chest Capture) A: F udoza no kamae, step up with migi foot, dori mune with migi te.

D: F udoza no kamae, migi te comes over and dori te in ura gyak u, migi foot k eri's gorin, ot o shi onto back, pull A onto his back, come up to migi knee and pull hi jizume (te still in ura gyak u) with hidari te, pull onto back on hidari side. 3.

Ude Ori

(Arm Break) A: From  seiza no kamae, come up on the migi foot, and strike with a migi tsuki. D: From  seiza no kamae, lean to hidari, and dori A's ura gyak u with the migi te, and then lean back to the migi, raising the migi  sokki k en, apply pressure to hi jizume by using  sokki k en, kaiten to the hidari and continue the pressure. 4. Matsu Kaze

(Pine Tree Wind) A: K umi uchi. D:  Dori migi  shichibatsu area securing skin / obi with hidari te, with migi te dori upper  mune and uko (optional securing of nerve points in uko area), pull lower  shichibatsu mae with hidari te while pushing upper uko region, step in with migi foot and  shichibatsu  behind A's  shichibatsu, lifting A with your  shichibatsu and his uko to nag e.

The meaning of Matsu Kaze is to remove the opponents wind by grabbing the throat. Use the thumb in the neck to shift him to your left. His buttocks should be half on, half off when lying across the knee. This fall can be hard, use your thumb to control his fall. Instead of the thumb, use a grab to the collar bone to shift him if he refuses to move.

 N ote:

5.

Ryu Ko

(Dragon Tiger) A: Hon jime. D:  Dori hidari hi jizume with migi te, dori migi daimon with hidari te, step in with migi foot, yoko nagar e to take A over top. 6. Gedan Gake

(Low Hook) A: Hidari  seigan no kamae,  jodan tsuki.

D: Hira no kamae, step out to migi with hidari  jodan uk e, move mae with migi k eri to kinteki, at same time dori migi te in ura gyak u with migi te, turn to migi, zen po uk emi with body on arm, keep ura gyak u and lie on arm to break. 7. (Do) Udi Ori

(? Arm Break) A: K umi uchi. D: Hidari te curls around migi arm securing with muso dori, strike upper daimon /  shinchu with bo shi k en, step ushiro and down into migi nag e no kamae to nag e. 7a. (Do) Udi Ori Henka A: With migi foot mae, dori migi mune with hidari te. D: Cover dori with both te's,  pullback, migi k eri, dori hidari daimon with hidari te, step back to hidari knee to nag e face down. 8. Kyu In

(Old Street) A: K umi uchi.D: Hidari te curls around migi arm securing with muso dori, hidari k eri to hidari kak u, step ushiro and down into migi nag e no kamae to nag e 9.

Kimon Dori

(Demon Gate Capture) A:  R yote mune dori. D:  Dori both hands, ot o shi body weight, migi step onto hidari t oki, letting go of the te's does ryote f udo k en to  shinchu, immediately dori gi with both hands, turn to hidari to nag e 10. Jinchu Nage

(Centre Of Man Throw) A:  R yote mune dori. D:  Dori daimon, step mae into ihen no kamae, kikak u k en to mik en, lock dokkotsu and a saga sumi by twisting daimon to his hidari, step in with migi leg ushiro  shichibatsu, lift with  shichibatsu or o sot o nag e, keep forearm locked to dokkotsu, nag e to ground (Maintain pressure on dokkotsu with forearm throughout).

11. Koromo Kaeshi

(Garment Over Throw) A:  R yote mune dori. D: Move to hidari into hira ichimonji no kamae, with hidari te dori migi ho shi, migi arm goes under hidari wakitsubo with te pressing kimon. A: Take two steps back (hidari first).D: Go with A,  shako k en to kin, step ushiro migi foot, hidari te dori migi uragyak u, migi te dori migi  jakkin, migi  sokki k en presses on migi under arm, ko sshi nag e. 12. Sakao Otoshi

(Headlong Drop) A: K umi uchi. D: K umi uchi, step 45 mae with hidari leg into ihen no kamae, pulling on arms, draw up migi leg and  sok u k eri to migi  sai, step ushiro  shichibatsu and enter into a go shi nag e, as they ot o shi to nag e no kamae allowing them to fall on your  sokki k en with their  katsusatsu. 13. Satani Nage

(Field Valley Throw) A:  Dori collar with migi te. D:  M igi te on dori, step ushiro with hidari foot, ura gyak u, step ushiro with migi foot, migi heel k eri to migi kak u, pull on migi hi jizume and hidari te as A falls to hidari 14. Katate Otoshi

(Single Drop) A:  R yote mune dori. D: Reach across to dori opposite uragyak u, turn back to use other arm to hit under both arms to do double  seion nag e. 15. Gyaku Nage

(Reverse Throw)

A: K umi uchi. D: K umi uchi, apply oni k udaki to migi arm (by dori hi jizume), release hi jizume and  shako k en to a saga sumi, enter and hip nag e. 16. Gokuraku Otoshi

(Paradise Drop) A: K umi uchi. D: Step to migi with migi palm under hi jizume, step back in with the migi rolling hi jizume over as he steps in, pulling A back a little. A: Try to regain balance. D: Place hidari te on A's migi te, ot o shi to hidari knee and push to hidari to pull over. Copyright Sukisha Ko Ryu.

Sukisha Ko Ryu Bringing together all the elements of the Ninjutsu & Samuraijutsu Takamatsu-den Traditions. (Best viewed at 1024x768)

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 Kukishinden Ryu  Dakentaijutsu (Yoroi Kumi Uchi)

List Of Contents

Kihon Waza: Beginning Techniques Dakentaijutsu: Striking

Atemi No Tanren: Proper Body Conditioning Kaitenjutsu: Rolling Tobijutsu: Jumping Goho

No Kamae: 5 Postures

Kihon Gata: 2 Techniques Shoden No Kata: 9 Techniques Chuden No Kata: 12 Techniques Sabaki

Gata:

12 Techniques

Okuden No Kata: 12 Techniques Shirabe Moguri

Gata:

Hanbojutsu: Weapon Jojutsu: Weapon

12 Counter techniques

Bojutsu: Weapon Juttejutsu: Weapon Tessenjutsu: Weapon Tantojutsu: Weapon Kodachijutsu: Weapon Kenjutsu: Weapon Tachijutsu: Weapon Yarijutsu: Weapon Naginatajutsu: Weapon Bisentojutsu: Weapon Shurikenjutsu: Weapon Heiho: Strategy Kyushu: Attacking areas Kuden: History and Traditions

 Kukishinden Ryu  Reiho (4 Bows) Shinzen Rei

(Standing Bow) From Shizen, bring hands together in front of chest and bow head, return hands to side of   body.

Seiza Rei

(Kneeling Bow) From Shizen, lower left knee to ground placing hands on thighs, move into seiza, place left hand then right on ground then bow, return right hand t hen left to thighs, and stand into Shizen.

Jinchu Rei

(1/2 Kneeling Bow) From Shizen, go to left Nage placing left hand on ground and bow, stand into Shizen.

Ritsu Rei

(Standing Bow) From Shizen, bow head.

 Kukishinden Ryu  Kihon Waza (Beginning Techniques)

Hoken (Secret Fists)

Shuto ken

(Wake up rolling strike) Use the sides of the hands, with the hand open approx 60 Degrees. Snap the hand open on impact. (The strike is used a lot.). From Seigan strike the tree with Fudo Ken, S hukki (no step), Shuto (no step). Step back to Seigan and repeat.

Fudo ken

(Spiritual blade) Use the clenched fist for punching, and striking. From Seigan no kamae, strike the tree with Fudo Ken (Thumb on top). Step back to Seigan and repeat. The fists involve more than just striking with the hand. By moving the legs, the speed of the fist is doubled.

 N ote:

Boshi Ken

(Thumb drive fist) Use an extended thumb that is supported by a fist to jab, and strike muscle areas, and nerve endings. Size up the distance with the right hand, and foot forwards. Yoko Aruki with the left foot, and strike with a left Boshi ken. Yoko Aruki back, and right Boshi ken. Repeat.  NOTE :

The right foot does not move.

Shako Ken

(Claw strike) Use the palm, and the finger tips to strike and rake. then change this into a fist. From Hoko no kamae, keep the knees bent, and with switch stepping, strike the tree, with Shako ken. In this five finger fist, the five fists of the fingertips as well as the one fist of the  palm hit the target.  N ote:

Kikaku Ken

(Demon horn strike) Using the thick bone on the forehead, sides, and the back of the head, in a smashing  butting action. Step forwards, and strike with Kikaku ken. The left leg then co mes up and kicks with the inside edge of the foot (from the ankle anywhere up to the chest). Two steps back and repeat.  N ote:

The forehead is also a fist. Of course the fists rest on the attitude that "I am a fist",

and thus one proceeds to toughen all of one's body. That is how one trains.

Soku Shin To

(Toe sword) Use the tips of the toes to strike, or jab the target. Sometimes it is best to first use Hicho then the geri.

Sokuyaku Keri

(Sole of foot) Use the bottom ball, heel (sole) of the foot, to shove into the target. The heel contacts first. From standing launch yourself upwards, and kick at chest height with a right or left Sokuyaku.

Kiri

Gaishi

(Shin \ instep kick) Kick by just lifting the leg as one, not as a snap kick.

Atemi no Tanren (Body Conditioning) (Strike training) Use the rolling to condition, be able to roll on any surface at any time.

Taihenjutsu (Art of Changing the Body ) (Body movement) Zenpo

Kaiten

Forward roll. Koppo Kaiten

Gymnastic type. Ko Kaiten

Almost sideways shoulder hits first come up and strike with one hand. Koho Kaiten

Backward roll. Sokoho Kaiten

Sideward roll on axis. Yoko Nagare

Extended leg sideward roll. Zenpo

Ten Kai Taihen

Gata

Forward hand spring.

Sokoho Ten Kai Taihen

Gata

Cart wheel. Koho Ten Kai Taihen

Gata

Backward hand spring. Zenpo

Chi Nagare Ten Kai Taihen

Gata

Forward flip. Koho Chi Nagare Ten Kai Taihen

Gata

Backwards flip.

Tobijutsu Happo Ten Chi Tobi Taihen

Gata

All directions leaping. Try digging a hole and jumping out of it, then add weights to your legs.

 Kukishinden Ryu Goho  N o Kamae (Five way postures)

(5 Postures)

1. Katate Hicho No Kamae

(One Handed Flying Bird Posture) (Single crane postrue)

Same as Seigan no Kamae, except the right hand is open. The left foot, can come back  near to the right foot. 2. Kosei No Kamae

(high/low combat posture) As in Jumonji No Kamae, one hand held high to shield eyes, other as Boshi Ken at waist. henka: Left hand is Shikan Ken above the eyes. The right hand is by the heart in Shikan Ken. 3.

Hira No Kamae

(Receiving posture) (Flat posture) The feet are apart, approx shoulder width. Both hands are in Fudo Ken, and palms facing the body they both rest just on the inside near the hips 4. Hira Ichimonji No Kamae

(First Receiving Posture) (Flat number one posture) Hands held out to sides as if grabbing railings on ships, hands closed. henka:The body is the same as Hira no Kamae. The arms are out stretched to the side of  the body. The hands are in Shikan Ken so that the fingers will not get cut off. Also it is almost impossible to make a Fudo ken when wearing Armour. 5.

Seigan No Kamae

(Straight Eye Posture) (Correct eye posture) Body leans slightly back, one arm in front, hand open, ot her hand at waist line in Boshi Ken. Henka:

The body is side on to Uke. The left hand points at Ukes eyes, the right hand in Shikan Ken, rests on the heart.

 N ote:

Combine all five so that they are po stures not poses

 Kukishinden Ryu T ai

jutsu

 Kihon Gata (2 Techniques)

Omote Oni Kudaki

(Outer Demon Crusher) A: Migi tsuki D: step to inside raising left arm on to A¶s wrist pushing up to bend put right armunder  A¶s right elbow and clap hands. turn to left to throw. Ura Oni Kudaki

(Inner Demon Crusher) A: Migi tsuki D: step to out side placing left wrist on top of A¶s right wrist pushing down and sliding arm through to hold. Sayu = left & right Gata/Kata = technique

 Kukishinden Ryu T ai

Jutsu

 S hoden  N o

Kata

(Initial Transmission Forms) (9 Techniques)

1. Seion

(Living Sound) A:Grab left lapel. D:Grab left lapel. A:Cover under hand. D:Cover under hand, change right grab to Boshiken to t hroat, right leg kick out A's right leg to take down. 1. Seion

(Living sound) Uke holds Tori in Kumi Uchi. Tori hold the collar with the right hand, and Uke's right collar grab with the left hand. The right thumb, presses into the nerve in the side of the neck, as he does this, Tori shifts the left foot to the left, pulling Uke's right arm straight, and making his own right arm straight Tori then and places (kicks) the right foot, against the right knee (or hip). Pressing the nerves, pushing out the foot, and turning Anti clockwise Tori throws Uke onto his back.

1a. Seion Henka

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

1b. Seion Henka (Yoroi)

Face each other using Hira Ichimonji no kamae, the right hand grabbing the shoulder  strap, and the left hand either the elbow, or the protective plate on the back of the hand. The left hand lets go, comes in underneath and strikes to the tendons on the inside of the wrist, to knock it clear (this is a short movement). T ake hold of the inside of the sleeve by the elbow, then the right foot, is placed behind the back o f the right foot with the calves touching. Uke is the forced backwards. Hold the strap high on the shoulder. As the right foot is placed on the ground, Ukes  balance is pushed backwards. The left foot, can come in to be close or on to the Ukes right foot. As you grab in Kumi Uchi, the body weight sinks a little.  N ote:

2. Suiyoku

(Water melon) Uke strikes from Seigan with a right Jodan T suki. Tori is in Hira, and moves back into seigan, and a left Jodan Uke. Uke then strikes with a left Jodan Tsuki, Tori does a right Jodan Uke, and grabs the wr ist after the block. Uke does a right kick, Tori responds with a left Gedan Uke, and stra ight up to strike Kirigasumi, with a left Boshi Ken. To ri then steps forward with the right foot, and kicks with the left to Ryuge. With draw the right leg to kneel and Uzimaki.  N ote:

Kirigasumi - below the ear Ryuge - ankle bone outside calf 

3.

Suisha

(Water wheel) Uke does a right Jodan Tsuki, Tori does a left Jodan Uke (Daken Style), and ducking low strikes to Nasai. Uke then strikes with a left Jodan T suki, and a right Jodan Tsuki. Tori does a right then a left Jodan Uke grabbing the wrist with the final block. Tori then k icks the left leg with his right foot to Sai. Tori then grabs the neck, and finishes with Uchi Mata

4. Kubiwa

(Collar)

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

5

. Ho Setsu

(Destroying Snow) A:Right punch, left punch, right kick, right punch. D:Block inside x4, punch right kick, left punch to throat. A:Come around under to block with right hand. D:Grab right wrist, swing down to change hands, continue circle motion of arm while turning to strike right elbow to A's back (r ight arm can be either on left shoulder or above head), pull down on arm to throw back.

5

. Ho Setsu

(Destroying Snow) Uke and Tori are in Kosei no Kamae. Uke strikes with a right Jodan Tsuk i, Left Jodan Tsuki, right Keri. Tori, does a left Jodan Uke, right Jodan Uke, and a right Fudo Ken to  Nasai, Uke then does a right Jodan Tsuki. Tori does a left Jodan Uke then grabs the right collar with the left hand straight after the Uke. Uke swings his right arm down the in and up to knock clear Tori's grab. Tori grabs the right hand with his left hand in Omote Gyaku, turns clockwise so that his back comes to Ukes. Tori strikes with a right elbow to Butsumetsu, holding the left hand high above his head. The right hand joins the left, and  pulls Uke down on the r ight side to his back. 5a.

Ho Setsu Henka

Same start, Tori grabs the left wrist with the right hand a fter the strike to Nasai. Tori lifts the wrist he holds, and grabs the arm with his left arm, swings it out to the right to stop the Jodan Tsuki. Switch hands on the wrist, and apply a choke with the right hand, turn the body so that you can start a seio Nage. Uke pulls away. Tori goes under and throws with Ippon Seio Nage.

(YOROI) When Uke is down, the cresting or the wings of the helmet can be held to restrain him, and restrict his mmovement.

 N ote:

6. Iso Arashi

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

7. Fu Buki

(Snow storm) Uke starts the same as Iso Arashi. The defense is t he same, but take the hand in Omote Gyaku. Take hold of the elbow with the left hand, and force it upwards, and kick to right  Nasai. Turn under the arm to t hrow with Seio Nage.

8. Kata Ho

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

9.

Tatsumaki

(Tornado) Starts the same as Kata ho, until the last right Jodan Uke. Tori applies the Jumonji Dori,  but Uke strikes with a left Jodan Tsuki. To ri steps to the side, and does a Jodan Uke to Uko, with omote Shuto. Tori then takes hold of Daimon, steps out, and kicks with Kakato