虎倒流骨法術 Kotō Ryū Koppōjutsu
The lineage of Koto Ryu: Koppojutsu originated in ancient China. It was brought to Japan by the monk Chan Busho of Korea approximately 23 generations before it was reorganized by Sakagami Taro Kunishige in 1542. Sometime between 1542 and 1555, Koto Ryu was passed from Toda Sakyo Ishinsai to Momochi Sandayu. Sakagami Taro Kunishige Bando Kotaro Minamoto Masahide (killed in battle in 1542) Sougyoku Kan Ritsushi (Soke of Gyokko Ryu Koshijutsu) Toda Sakyo Ishinsai Momochi Sandayu (circa 1542-1555) Momochi Sandayu (circa 1570-1592)
Momochi Tanba Yasumitsu (Lord of Ryukojo, 1596-1615) Momochi Taro Saemon (1615-1624) Toda Seiryu Nobutsuna (1624-1644) Toda Fudo Nobuchika (1658-1661) Toda Kangoro Nobuyasu (1681) Toda Eisaburo Nobumasa (1704) Toda Shingoro Masayoshi (1711) Toda Daigoro Masayoshi (1736) Toda Daisaburo Chikashige (1804) Toda Shinryuken Masamitsu (b.1824 - d.1908) Takamatsu Toshitsugu (b.1887 - d.1972) Hatsumi Masaaki (b. 1931 - )
Koto Ryu Koppojutsu (Knocking Down Tiger School) History of Koto Ryu The exact origin of KOTO RYU is unknown, but it was probably brought to Japan from what to day is Korea by a person named CHAN BUSHO. There are no sources on when this happened exactly, but there went several generations before the system was organized by SAKAGAMI TARO KUNISHIGE. It was took two more generations until TODA SAKYO ISHINSAI formally formed KOTO RYU KOPPOJUTSU as a RYU. SAKAGAMI TARO KUNISHIGE was considered as the first SOKE in KOTO RYU, but BANDO KOTARO MINAMOTO MASAHIDE, The one that was to be the 2nd SOKE died in battle 1542. Instead the RYU went to SOUGYOKU KAN RITSUSHI who also was the SOKE of GYOKKO RYU. There after the KOTO RYU was following the same family line as GYOKKO RYU, today the SOKE of both RYU are MASAAKI HATSUMI and can be found in the BUJINKAN BUDO TAIJUTSU system. The difference attributed to GYOKKO RYU was that KOTO RYU was only taught to the person that would become the next SOKE. The name KOTO RYU means "knocking down tiger", to knock down a tiger with the fingers, the techniques are quite brutal in its methods. KOPPOJUTSU means to destroy the bone structure of the attacker, Koppo also means knack or skill and does not necessarily mean Bone Breaking . What specializes the KOTO RYU techniques is that distance is created by moving along with the attack, then moving forward with a strike and then move quickly out to a safe distance again. This is done to come in with a strike at exactly 90 degrees against the bone structure of the attacker to do most damage. To do this demands good timing and rhythm in the defensive attack, often done with YOKO ARUKI
Another thing that is a specialty is the YOKO ARUKI (moving with the legs crossing each other). Another important part of the footwork is to hit the attackers TOKI (the top of the foot), by kicking or stepping on it to control his balance. You must learn to do this unconsciously. It should also be noted that the starting distance should be really big from the start, the attacker must take one big step or several steps to reach the defender. This states clearly that KOTO RYU was developed for the battlefield or out doors in general, and not inside a house or narrowed places. THE EYES The KOTO RYU stylist should be looking right between the attackers eyebrows, so that the attacker cannot read the intentions through his eyes. The attacker will also believe that he has eye contact, which will be confusing for him in an unusual way. Other typical methods of KOTO RYU is the use of METSUBUSHI, different ways of blinding the attacker or attacking the eyes directly. METSUBUSHI could be powder thrown at the attackers eyes, but also reflections at the eyes from the sword or other metal blades. For example when it rains the KOTO RYU stylist would stand in MANGETSU NO KAMAE (similar to HOKO NO KAMAE with the blade in the left hand) and collect water in the HI (groove)of the blade and then throw the water at the enemy’s eyes before the sword slashes down. Because of the hard character of the KOTO RYU techniques it demands hard discipline training to harden the body. TAKAMATSU TOSHITSUGU (the former SOKE) started his training in KOTO RYU when he was nine years old, and was considered a KOTO RYU master when he was 13 years old. In his autobiography he has written that he got hard fingers and toes by hitting stone and gravel until the blood came through the fingernails and toenails. SHAKO KEN (claw hand) is one of the strikes that are used in KOTO RYU. There are story's about TAKAMATSU in the 1960's when he convinced KOIZUME SHIZUO, a journalist from the TOKYO Sport Newspaper, by literally drilling five holes through the bark of a tree with his SHAKO KEN finger strike. KOTO RYU also has an unusual way of using the Japanese sword. KOTO RYU is one of the very few RYU that sometime changed the grip of the sword by holding it with the left hand near the TSUKA, and switching the placement of the feet. This gives multiple ways of holding the sword with crossed arms that would totally confuse the
attacker, and sometimes convince him that the KOTO RYU stylist was an amateur and an easy opponent. Technically GYOKKO RYU complements KOTO RYU perfectly and together make a good fighting system. But you should also be aware that both RYU have its own methods and techniques of moving, but together they practically cover all kinds of variations. If we go back to the history we can see that there have been several famous NINJA that have studied both KOTO RYU and GYOKKO RYU. One of the most known NINJA was SANDAYU MOMOCHI who was one of the leading persons in the RYUGU SANBONMATSU village, and one of the defenders against the ODA NOBUNAGA invasion in 1582. He was the SOKE for both KOTO RYU and GYOKKO RYU. One of SANDAYU MOMOCHI's students was ISHIKAWA GOEMON who came to be known and infamous as the Japanese kind of Robin Hood. He also tried to assassinate HIDEYOSHI TOYOTOMI, but he was captured and boiled in oil. Some sources says that he managed to escape but the Shogunate never dared to reveal that, but that must be considered as relatively unbelievable.
The Structure of Koto Ryu The basic movements include large exaggerated blocking movements, like the Ichimonji in the Kihon Happo. Characteristics about Koto Ryu Koppojutsu is the Yoko Aruki (cross stepping movements), stomping on Toki (the foot). The eyes are looking right between the eyebrows on the opponent, this way the feelings and intention will not be easily detected by the opponent, "The eyes are everything" is a saying from the scrolls. The postures with the sword (weapons?) is quite unique, often leading with the left foot, and the left hand closest the Tsuba. Kurai Tori Kamae (5 basic Kamae) Shoden no Kata (18 basic techniques) Chuden no Kata (12 basic techniques) Okuden no Kata (12 basic techniques) Hekito no Kata (8 basic techniques) Unarmed techniques against the sword. Kyusho of Koto Ryu The following is a listing of the Kyusho or pressure points we use in Bujinkan Budo Taijutsu. Many of these points can be found along the meridians used in Shiatsu and acupuncture. The locations described
below are approximate; their exact location will depend upon a person's body structure. 1. Ura Kimon (Outside Devil Opening) - Ribs under pectoral muscle. 2. Ryu Fu (Willow Wind) - Above & below Adams apple. 3. Kasumi (Fog, Mist) - Temple. 4. Hiryuran (Flying Dragon Confuser) - Eyes. 5. Shishiran (Tiger Confuser) - Stomach. 6. Kosei (Power Of The Tiger) - Groin. 7. Yugasumi (Evening Mist) - Soft spot below the ear. 8. Tsuyugasumi (Drop Of Mist) - Under the jawline. 9. Ryumon (Dragon Gate) - Under collarbone near shoulder. 10. Jujiro (Intersection) - Front of the shoulder. 11. Jakkin (Weak Muscle) - Upper arm between bone & muscle. 12. Daimon (Big Gate) - Middle of shoulder joint. 13. Asagiri (Morning Mist) - Bottom of the chin. 14. Sei (Star) - Directly under the armpit. 15. Kinketsu (Tabu Hole) - Sternum. 16. Koshitsubo (Hip Pot) - Inside ridge of the hipbone. 17. Hichibatsu (Voice) - Side of the hip. 18. Tenmon (Heavens Gate) - Ridge of the eye socket. 19. Uko (Door Of Rain) - Side of the neck. 20. Jinchu (Center Of The Human) - Base of the nose. 21. Happa (Eight Leaves) - Clapping the ears. 22. Menbu (Face) - Bridge of the nose. 23. Tokotsu (Independent Bone) - Adams apple. 24. Gorin (Five Rings) - Around the stomach. 25. Sai (Leg) - Inside & Outside of upper leg. 26. Matsu Kaze (Pinetree Wind) - Just above and below the end of the clavicles. 27. Mura Same (Village Rain) - Notch between the clavicles. 28. Hoshizawa (Cliff Of Stars) - Elbow joint. 29. In (Shadow) - Inside the swell of cheekbone. 30. Ten To (Top Of The Head) - Soft spot on top of the head. 31. Shin Chu (Center Of The Heart) - Middle of the chest. 32. Wakitsubo (Side Of The Body) - Ribs under the armpit. 33. Yubitsubo (Finger Pot) - Base of the thumb. 34. Butsumetsu (The Day Buddha Died) - Ribs under the chest muscles on the front and back. 35. Kyokei
(Strong Tendons) - Top of the foot just above toes.
Sanpo Gassho
There are three forms of Kuji (Mikkyo Esoteric hand signs) that are called Sanpo Gassho (three treasures) in the Koto Ryu Gassho Kuji Kiri (Nine symbol slashes prayers). 1. Kongo Gassho Cloud Prayer 2.Suirin Gassho Water Ring Prayer 3.Kaku Gassho Fire and Winds Prayer Koto ryu is famous for its koppojutsu. While it has become popular to translate the Japanese koppojutsu as ‘bone breaking’, the word in fact could be applied to a wide variety of pressure point and weak point attacks. It should be noted that these attacks are not necessarily the same thing. Weak points can occur within balance, stance, the natural structure of the body, the operation of the individual nervous system and even the mental outlook. This confusion about what is an actual weak point as opposed to a simple sensitive spot on someone’s body is one very important reason most martial artists spend their entire life training and still reach only a rather insipid level of skill. A weakness could also be vanity or one of the other (western deadly sins) that could be used against the enemy, other examples include a false sense of security complacency or relying on others. There are many examples. (TR) According to kuden (oral tradition), Koppojutsu originated in ancient China. It was brought to Japan by the monk Chan Busho, who was born in what is now present day Korea. What type of monk was Chan Busho? The traditions are not clear. However, his name does have some interesting linguistic relationships. In Chinese, Chan means Name of Wind. That is, the name and mind being substance. The more popular claim that Chan translates into Japanese as Zen is actually a misinterpretation. However, like many such mis-translations, once it gains a certain amount of popular acceptance, there is little one can do except point out the original error and accept the fact that most people will not want to be confused by the facts. The name Busho is very close to the Japanese word Busho, which means Buddhist scripture. Thus there is a fair case that Chan Busho (or who ever took Koppojutsu to Japan) was a Buddhist. Given the nature of Koto Ryu techniques and taking into account some of the current Chinese martial arts, a fair case for some connection between the two could be made. An example of the Buddhist teachings can be seen from the following quote taken from the writings of Takamatsu Toshisugu:
‘No one possesses the knowledge concerning the events of tomorrow. This means that we do not know when our life will cease. However, you should never be surprised by any kind of happening. Whether a change in the cosmic process occurs, a cutting action is attempted by an opponent or natural catastrophes take place, you should never feel such a thing as surprise. This is the spirit of Banpen Fugyo.’ While these teachings may at first sound somewhat simple, they can take years to realize in actual living. The history of Koto Ryu has it that the techniques were passed down from Busho through several generations until the teachings reached Sakagami Taro Kunishige in the mid-l500’s. From here, the Ryu was passed down to the famed ninja leader Momochi Sandayu. The Ryu stayed in the Momochi family for a number of generations until it passed to the Toda family. Toda Seiryu Nobutsuna was the first Toda family grandmaster of Koto Ryu and he headed the system from 1624 A.D. to 1644 A.D. From the Toda family, the system passed down to Takamatsu Toshisugu and into the modern world. The teachings of Koto Ryu are organized on the usual ancient Japanese system of Shoden, Chuden, Okuden and Hiden. Although there is some relationship between each level of the techniques, each group has its own important points. An interesting aspect of Koto Ryu is that the techniques would work against a man dressed in modern clothing or armor of the type worn in ancient Japan. This reflects the fact that although the ancient ninja are often associated with the practice of espionage, a number of them saw action on battlefields of old Japan. Another interesting aspect of Koto Ryu is that the concepts and techniques greatly compliment the ideas and techniques contained within Gyokko ryu. The Kihon Waza of Koto Ryu contain such basic techniques as rolling, hitting, jumping, and proper body conditioning. This last, that each Ryu has its own conditioning associated with it, is often overlooked. The Shoden Gata is contained in 18 methods. These methods deal with a variety of attacks and show the proper use of such striking techniques as kicks, head butts and different strikes with the hands. While on first examination, these techniques look fairly simple and straight forward, they are not, because of the number of situations under which they can be used. It should be noted that the Koto Ryu has its own system of attacking the various weak points of the body and the study of how to match the proper body weapon to the point of what is being attacked is a rather wide area of study.
According to the book Dai Nippon Bugei Ryu Ha, the following provides an outline of the history of the Koto Ryu. The names listed are those of the grandmasters of the system. There were, of course, a number of famous ninja and samurai trained in the techniques of the Koto Ryu. For example, the famous ninja Ishikawa Goemon learned ninpo from his master, Momochi Sandayu. Goemon is best remembered for his role as Japan’s ‘Robin Hood’. Goemon also attempted to kill the famed leader Hideyoshi, but without success. According to popular legend, Goemon was eventually executed for his activities (a common fate for many at that time) but other Kuden states that he escaped this fate. As mentioned earlier, the exact origin of Koppojutsu is lost somewhere in the mist of ancient history. The techniques of the Ryu were reorganized by Sakagami Taro in 1542 A.D. The man who was to become second headmaster of the Ryu, Bando Kotaro Minamoto Masahide was killed in battle later in that same year. This event resulted in the ryu being passed to Sougyoku Kan Ritsushi. While it is true that the techniques that were to become Koto Ryu were brought to Japan from China, there is ample evidence that the teachings and techniques that were named ‘Koto Ryu’ at a much later date actually originated in ancient India where it was called ‘karanai’. At that time, these techniques (actually what today is called Koppojutsu and koshijutsu) were considered to be practically ‘miracle’ techniques because these techniques enabled one to easily control or defeat an enemy with almost no effort. When these techniques were imported into China (probably during the fall of the Han dynasty) it was part of the information flow that brought Buddhism into China from India. Although it would be nice if it were possible to narrow this transmission down to one man (much like is done by modern kung fu salesmen), there is really little reason to believe that these techniques were the property of just one individual. Granted they were not (and still are not) common knowledge, but they probably were changed, improved and adapted in China before they ever actually got to Japan. Once this knowledge arrived in Japan, it was further developed and even today there is a continued process of change and development taking place. Once in Japan, the teachings of Koppojutsu and Koshijutsu quickly became the property of an elite group of families. Often, only one person in each generation was taught these techniques. In the stream of martial arts that is today known as Ninjutsu, the historic development of the fighting arts shows that the oldest of the taijutsu arts is koshijutsu (e.g. Gyokko ryu). This was followed by the development of an independent form of Koppojutsu (e.g. Koto ryu) and this was followed even later by a system of
Koppojutsu based on the earlier systems. That is that the later Gikan ryu Koppojutsu was a direct outgrowth of the teachings of Gyokko ryu and Koto ryu. There is of course good reason to question the reason why anyone should be interested in the history of such esoteric fighting arts and why what technique goes to what ryu is of any importance whatsoever. As is often the case, asking such questions reveals more about the questioner than it does of the one questioned. Each ryu has to train according to the Ten, Chi, Jin structure that has been passed down from ancient times. The alert reader will have noticed that I used the Chinese expression of Ten, Chi, Jin rather than one of the structures normally associated with the gradings or groupings associated with Japanese martial arts. There is of course a very good reason for this. On the most mundane level, Ten, Chi, Jin can be taken to mean ‘Heaven, Earth, and Man’ and as such it is often taken to just mean the basic (lower) middle and upper (advanced) techniques of a Ryu. The expression can also be said to point out the fact that whenever one is training in a particular ryu, they should do the Kata (or techniques) of that Ryu while standing in a high, medium or lower stance. While both of these ideas have some basis and they can even be of some use, they have little to do with the real meaning of Ten, Chi, Jin as this idea applies to something as complex as Koto Ryu. The reason that the deeper meaning of this idea has been completely missed by the majority of Ninjutsu writers and instructors (although I am not sure exactly what the difference between these two are) is that very few understand the connection of ancient and recent China to Ninjutsu. Of course, there are no (and to be technical there never were) ninja in China. Attempts to tie ninja with cave or forest cults are fun but they have no basis in historic fact. However, the impact of such Chinese systems of thought and action as Taoism, Buddhism, and a wide variety of cultural arts such as tea, painting, martial arts, etc. is common knowledge although the implications of such is generally overlooked.. Granted, anything brought to Japan was mixed (and almost always improved) with the knowledge already present, but that rarely meant dropping much of the original Chinese methods of training or the order in which this training was carried out. Thus, the expression Ten, Chi, Jin is actually a form and order of training that originates in ancient Taoism.
1. 初伝型 Shoden No Kata Juhachi Gata 1. 抑倒 Yokutō 2. 押虐 Ō Gyaku 3. 抗抑 Kōyoku 4. 枝倒 Shitō 5. 捕捉 Hosoku 6. 放擲 Hōteki (aka yo packy) 7. 斜倒 Shatō 8. 掛倒 Ketō 9. 搾撃 Saku Geki 10. 抜技 Batsugi 11. 擔撃 Tan Geki 12. 折倒 Settō 13. 指拍 Shihaku 14. 拒技 Kyogi 15. 括拷 Kakkō 16. 浦波 Ura Nami 17. 天地 Ten Chi 18. 片巻 Kata Maki
Kurai Dori:
The 5 kamae of Koto ryu are Right Seigan no Kamae, Left Seigan no Kamae, Hira Ichimonji no Kamae, Bobi no Kamae, and Hoko no Kamae.
Yokuto
抑倒
Uke grabs left lapel, right sleeve. Tori right shitoken to neck and kick to groin. Bring right leg back and drive a left shakoken or happaken to jaw/face.
Ogyaku Uke judo style throw. Tori leans back, lowers hips, shitoken in kidney. Shift in with a right shitoken to butsumetsu, drive uke to the ground.
Koyoku Uke right jodan tsuki. Tori right seigan no kamae, left strike to jakin, right fudoken to butsumetsu, left arm under uke's right hoshi, turn into harai goshi or ganseki otoshi.
Shuto Uke double lapel grab, using taijutsu.
tori ryo kasumi strike koppoken. Usumaki
Hosoku Uke left lapel grab, right jodan tsuki. Tori right seigan no kamae, left strike to jakin. Tori left shitoken to right koe, kikakuken to face.
Hoteki Uke left lapel grab, right jodan tsuki. Tori right seigan no kamae, left ura kitenken to jakin, then slide right hand to hoshi and apply koshijutsu to hiji. Left hand to uke's left hand. Seoinage.
Setto Uke right lapel grab. Tori twist and right kitenken or shikanken to right jakin. Tori left boshiken or shikanken to butsumetsu with a twist and push down.
Keto Uke ryote(both hands) grab to mune (lapel), tori shikanken to both hands while sinking down. Sokuyakuken kick to gorin.
Saku Geki
Uke attempts to double grab to lapel, but before he reaches tori, tori steps forward right, right koppoken to asagasumi (chin), then swinging sokuyakuken to sai (inner knee).
Batsugi Uke right grab to mune, tori covers hand. Tori right shakoken to men (face), left omote gyakudori, and shukiken to jakin, stepping back down to left knee.
Gan Gaki Uke right and left jodan strike. Tori hoko no kamae, parries both strikes with fudoken to hoshi, while stepping back, then spring forward with ryote shakoken to men, then sokuyakuken to suigetsu.
Shato Uke left grab to mune, right jodan strike. Tori steps back right, fudoken to hoshi, kasumi strike with left koppoken. Tori right kick to groin with shin.
Shihaku Uke right and left jodan strike. Tori seigan no kamae. Fudoken to both jakin, then lift left kick as a fake to the groin. As tori sets his foot down, right fudoken to suigetsu.
Kyogi Uke left ichimonji no kamae, right jodan tsuki. Tori seigan no kamae, jodan strike. Uke left jodan tsuki, tori jodan strike without changing feet but taking a tangent step left. Shift weight forward and stomp attacker's front foot (on the arch) with your right foot. Right fudoken to butsumetsu and step left.
Kako Uke left ichimonji no kamae, right jodan tsuki, tori reverse block. Uke left jodan tsuki, tori right reverse type block. Bring your rear leg up and forward with a sokuyaku ken to uke's koe, turning your toes out. At the same time, strike with right sanshitanken to murasume and drive down.
Ura Nami Uke right and left jodan tsuki. Tori does two reverse blocks, stepping back only on the first block. Tori right kick to uke's right yaku, ryo boshiken to neck to drive him down.
Ten Chi Uke right and left jodan tsuki. Tori two reverse blocks, stepping back. Tori right kakushi kick to groin as a fake, and right (or ryo) shakoken to ganmen, quick and direct.
Kata Maki Uke right jodan tsuki. Tori uke nagashi. Uke left jodan tsuki, tori reverse block (slide right leg back and uke nagashi with right arm), this time at a 90 degree angle. Slide in with mushadori, lean back, left boshiken, stepping with the body into it, driving uke to the ground.
2.Chuden No Kata 1. Hida 2. Hisaku 3. Hicho 4. Hito 5. Kappi 6. Nonpi 7. Suito 8. Gohi 9. Hehi 10. Teki Gaeshi 11. Koto 12. Kakuhi
Note: techniques of the Koto Ryu Chuden no Kata are done with two training partners walking toward each other.
Hida Tori right omoteshuto to kasumi, same side kick to groin with shinbone.
Hisaku
Tori right shitoken to neck, ryote shakoken to grab shoulders, tobi and do jime. Drop back and pull behind ankles to take down. Shime to right leg and right kick with heel to groin.
Hicho Right shako-ken to men, right sokuyaku-ken to gorin.
Hito Bosh ken to omote kimon, tobi ni keri to gorin, drop and koho kaiten.
Kappi Tori step in right and right ura-shuto to neck, switch and step left, left ura-shuto to neck, koho tobi.
Monpi Step in right, right shako ken (skin & muscle grab) to wakitsubo, right sokuyaku-ken to groin.
Suito Uke right jodan tsuki, tori jodan strike, uke left jodan tsuki, tori jodan strike. Uke headlock, tori hammer fudoken to ura kimon, fudoken to asagasumi, peel arm off, apply musodori, twist arm and turn towards him, ura gyaku, gari otoshi throw, then sokuyakuken to butsumetsu.
Gohi As uke approaches, sanshitan-ken to murasame, then otoshi.
Hehi Right sanshitan ken to murasame, then left shako ken to men as you cross step. Right tobi.
Teki Gaeshi Right boshiken to jujiro, right omote sokuyaku ken to leg.
Koto Right sanshitan ken to murasame, right kick to groin.
Kakuhi As uke walks forward, he reaches for lapel. Tori right fudoken to asagasumi (chin) upward, then right sokuyaku ken to koe (or groin).
3. Okuden No Kata 1. Santo 2. Santo 3. Koto 4. Shisen 5. Kompi 6. Sho Setsu 7. So Setsu 8. Soto 9. Ko no Ki 10. Kimon 11. Ran Setsu 12. Ura Kimon
Santo Uke right strike mata, go with the technique by bending, strike hammer fudoken to kaku, then other hand strike fudoken to jakin. Leap back in seigan no kamae.
Santo Uke right chudan tsuki with shuto at tori, who is in left seigan no kamae. Drop back left to the right knee, left hand catches the wrist. Come up off the knee and right shikan ken to the wrist. Uke drops shuto, right hand grabs to ura gyaku. Turn wrist and step back with the right foot. Uke steps left forward. Kick left heel into left inner knee and otoshi.
Koto Uke right shoto jodan tsuki. Left seigan no Kamae. Drop down to the right knee as in Moguri Gata. Left fudoken to uke’s right jakin, rise up and deliver happa ken to face, and then a right kakushi to groin.
Shisen Ryote jime by uke, happa ken to yo. jinshu.
Kompi
Step right, kikaku ken to
Uke walks toward tori, step left onto his right foot. Strike left ura kiten ken to his neck, and then koho tobi.
Sho Setsu Uke walks toward tori, step right and fudoken to shinchu, step left in a circle and right kick to gorin, sokuyaku ken.
So Setsu Uke walks toward tori, step in and ryote shako ken to the sides of the body, step back left or right and sink on rear knee, blocking uke’s leg with other knee. Take uke to the ground.
Soto Uke walks toward tori, ryote boshiken to ryumon, push down, kikaku ken to ganmen, step between uke’s legs with one leg, using the other to sokuyaku ken keri to gorin, going into tomoe nage and rolling over with him.
Ko no Ki Uke walks toward tori, tori happo to hachi yo, tobi ni keri to gorin.
Kimon Uke walks toward tori, tori steps right, right hand shako ken to wakitsubo, left hand grabs right elbow. Step back around with the left leg to the right and drop down to the left knee, throwing uke to his back.
Ran Setsu Uke walks toward tori, step right, ryote shako ken to the sides of the body. Step between his feet with both legs, drop down attempting to strike his head into the ground, and attacking suzu with the elbow.
Ura Kimon Uke walks toward tori, right goshitan ken to omote kimon, right sokuyaku ken to koe.
4. Hekuto No Kata 1. Soku Boku 2. Boku Hen
3. 4. 5. 6. 7. 8.
Damara Setto Kibo Batsu Yo Kuahi Sako Ryoku
Soku Boku Uke jodan kiri, tori hidari ichimonji. Step left with the left foot, and with the left foot keri to uke’s right arm. As the left foot lands, ganmendori with shakoken.
Boku Hen Uke left chudan no kamae, yoko giri (left to right), tori avoids kiri with hira koho. Uke raises katana into jodan no kamae and shomen giri. Moguri gata, controlling arms, and sokuyaku ken to gorin.
Damara Uke left chudan no kamae. Steps in with right foot and tsuki. Tori hoko no kamae, yoko aruki to left, catching uke’s right hand with the left. Right shikanken to the back of uke’s hand, and omote gyaku, dropping to left knee.
Shuto Uke jodan kiri, tori bobi no kamae. Avoid 45 degrees forward inside kiri, right kitenken to nagare and then ura kitenken to jinchu.
Kibo Uke jodan kiri, tori bobi no kamae. Avoid 45 degrees forward outside kiri, right or left fudoken to tricep, then keri to butsumetsu.
Batsu Yo Uke right jodan no kamae, step left and yoko kiri to body. Tori right bobi no kamae. Step left 45 degrees outside kiri, ura kitenken to jinchu.
Kuahi Uke right chudan no kamae, tori hira no kamae. Uke tsuki, avoid to right. Uke steps left and yoko kiri to uko. Mogurigata, then tobi ni kiri to butsumetsu.
Saki Ryoku Uke left jodan no kamae, tori hoko no kamae. mogurigata and fudoken to suigetsu.
Jodan kiri,
