4770030592 Samurai

NOTE FROM THE Pl:BUSHER

This book IS presented only as a means of preserving a untque aspect of the hentage of the martial arts. 'either the pubhsher nor the author makes any representation , warranty, or guarantee

that the techntques descnbed or illustrated In it wHI be safe or effective In any self-defense Situ

ation or otherWise. Readers may be Injured If they apply or train In the techntques illustrated. To mlnlml: e the nsk of Injury, nothing descnbed In thiS book should be undertaken without

personal and expert InstruCtlon In addmon, a phYSICian should be consuhed before deCiding

whether to attempt any of the techntques deSCribed . Federal, state, or local law may prohibit the use or the possession of any of the weapons deSCribed or tllustrated In thiS book peclflc

self-defense responses Illustrated In these pages may not be justified In any particular situation or apphcable under federal , state , or local law Neither Ihe publisher nor the author makes any

representation or warranty regarding the legality or appropriateness of an)' weapon or techmque mentioned In thIS book.

The names of modern and contemporary Japanese appear In the Western order, whHe those of hlstoncal ftgures (pre-1868) are wntten In the tradmonal order: surname preceding given name.

For reference , the following chan shows those periods of Japanese hIstory Ihat wtll be most relevant to the dISCUSSIon .

PERIOD AME

ara Helan

Kamakura Muromachl

anbokucho Sengoku

Azuchl-Momoyama Edo

MelJI Talsho Showa

Heisel

APPROXIMATE DATES (A.D.)

710-7 4

794- 1192

1192- 1333

1336-1573 1336-1392 1467-156 1573- 1600

1600-1868 1868-1912 1912-1926

1926-1989 1989-

(Hlstonans do nOt agree on exactly when Ihe vanous penods started and ended, so the dates hsted are approxImate. Japanese writing often refers as well to nengo, or shorter penods named after each relgmng emperor. Some of these WIll be Introduced where relevan!.)

EdIted tn cooperauon with Musashl EdItorial Ltd., and Matt Cotterill.

Distributed in the United tates by Kodansha Amenca , LLC, and in the United Kingdom and conttnental Europe by Kodansha Europe Ltd.

Pubhshed by Kodansha Internattonal Ltd ., 17- 14 Otowa l -chome, Bunkyo-ku , Tokyo 112- 8652.

Copynght © 2008 by Masaakt Hatsum!.

Translauon 2008 by Doug Wilson, Bruce Appleby, and CraIg Olson. All rights reserved . Printed in Japan. I BN 978-4-7700-3059- 7

LCC 2008018074

fIrSt edttion, 2008

181716151413121110 0908 151413 12 11 109876543

www.hodansha-intl.com

- $] ~

1-~ ~ ~

CONTENTS

I T RO D CTION

The True Meaning of Budo Taijutsu Happo

Budo Taijutsu Awakening 10

The Bible of Martial Artists 12

Bujinkan Budo Taijutsu Today 13

I CHA PTE R 1 Kihon Happo

Gyokko-ryu Kihon Happo 16

Training in the Kihon Happo 16

Words from Takamatsu Sensei on the

Gyokko-ryu Kosshi Koppo jutsu and

Koto-ryu 20

Kihon Happo gata 21 Kosshi Sanpo 22 Torite Kihon gata Goho 27

I CHA PTE R 3 Gyokko-ryu Kosshi jutsu

Kosshi Sanryaku 46

Bushido and Kosshi jutsu 48

Facing the Opponent 48 Joryaku 49 Churyaku 52 Geryaku 54 Gyokko-ryu Kosshi jutsu 66

J-;2

lff: Z

':1

Ijk. ~

~

CHAPTE R 2

Sanshin no Kata and Ukemi gata Taihenjutsu

The Essence of the Sanshin no Kata 34

The Significance of Paying Respect to the

Mirror 34

Sanshin no Kata 36 Ukemi gata Taihenjutsu 42

Taihen kemi gata 42 Taihenjutsu Muto-dori gata 42

I CHAPTE R 4 Koto-ryu Koppo Jutsu

From Great Swordsmen to Clarifying the

Way Characters Are Read 70

Koppo jutsu 72 Shoden gata 75 Koto-ryu Koppo jutsu Kurai dori 76 Koppo 82 Hekito gata 88 Chuden gata 92 Okuden gata 94 Kaiden gata 98

C HAPTE R 5

Togakure-ryu Ninpo Taijutsu

Secrets of inpo Taijutsu 102

Attacking and Defending at Will 104

Taijutsu and inja 106

Taijutsu ukemi gata 108 Shinobi gaeshi gata 108 Hiden gala 109

CHA PTER 7 Shinden Fudo-ryu Daken Taijutsu

Shinden Fudo-ryu Shizen Shigoku no

Ichi 14-+

Compassion Is Benevolence 147

The Practice of Shinden Fudo-ryu 148

Shinden Fudo-ryu no Kamae 148

Sudden Change Will Always Prevail 149

Shinden Fudo-ryu Daken Taijutsu 150

Ten no Kata (lkken hasso) 154 Chi no Kata (Hiken isshun) 158 Shizen shigoku no Kata 162

Daken Kirigami Daiji 85 Tewaza gata 95 Torigata no Daiji 98

COLUM S Budoka 20 . Bufu lkkan 36. City Lights 56 The Transmission of Martial Artists 100 48 Hands III • Martial Artists 143 Boccioni 149 · About My Parents 209

APPE DIX- Originaljapanese Text 210

C HA PTE R 6

Takagi Yoshin-ryu Jutaijutsu

Life Taijutsu 114

Koteki Ryoda JuPpo Sessho no Jutsu 116

Takagi Yoshin-ryu Jutaijutsu 118

Omote gata 124 Ura gata 127 Eri jime gala 128 Sabaki gala 130 Tai no Kala 132 Muto-dori gata (Muto-doriJujiron) 136 Daisho Sabaki gala 138 Shirabe gala 141 Moguri gata 142

CHA PTE R 8

Kukishin-ryu Daken Taijutsu

Mysteries of Kukishin-ryu 168

Kukishin-ryu and Bufu Ikkan 170

Wisdom of a Demon 170

Kukishin-ryu Daken Taijulsu 172 Takamalsu Sensei 180 Using Weapons 188 Kukishin-ryu Happo Biken noJulsu 192 Shoden gala 192 Chuden gata 196 Sabaki gala 199 Okuden 201 Shirabe Moguri gala den 204

fACING PAGE: Plate with a picture of koppo JUtsu. The picture shows the author throwing a Wild boar. DraWing by Takamatsu SenseI.

INTRODUCTION

The True Meaning of Budo Taijutsu Happo

Budo Taijutsu Awakening

Bufu Taijutsu , which emerged at the same time as

the appearance of humankind , is a means of

defense that was developed intuitively in order to

preserve the life of humankind. It is the rhyme of

natural fi ghting, the teaching of departed souls,

the transmission of only those who survived.

Hearing this rhyme , throughout all the ages of this

Earth- the rhythms of ice and water, hot and

cold-those that were able to deal with the vicissi

tudes of the times gave rise to the magnificent exis

tence of Budo Taijutsu which survives to this day.

Budo Taijutsu , which is by no means exclu

sively Japanese, is like a bear waking from a long

hibernation. And now humankind is starting to

wake up . The reason I draw the analogy of the

hibernating bear is because regarding Taijutsu , the

essen ce of fighting, mankind has been sleeping

and has forgotten this essence. Martial friends, the

alarm bell has started ringing. Wake up from your

slumber! Now, let's talk. I want to describe a picture of the nine tra

ditions of Budo Taijutsu that I inherited , which is like the ripple

caused by the dorsal fin of a dinosaur that suddenly appears , break-

ing the scenery of the beautiful Loch Ness.

Walter Peter said that all art is a form of music. If this is true, we

could say that there are martial songs in the martial arts and the

people that perform these songs of Budo Taijutsu recorded in the

musical score (gosenpu ; 1i~%J ) or flashes of enlightenment (go

senpu; tef l7!'l %J) are martial artists. Speaking of things that "one would

want to see of a martial artist," there is no doubt the painter Oames

10

"Know that the secret of Taijutsu is the foundation of peace. If you learn this, you can walk the path of t he immovable heart." (Toda Shinryuken Masamitsu) Call igraphy by the author.

Kumiuchi by the author.

Kumiuchi tiy Magara Jurozaemon at the Anegaw a battle.

THE TR U E M EAN I NG O F BU D O TAIj U T SU H APP O 1 1

McNeill) Whistler would answer, "Art is born by chance." By chance,

I have just started to paint a scroll of the endless cycle of birth,

death, and rebirth. Unlike the great Japanese artist Yokoyama

Taikan, whose surname conjures the image of a majestic view (tai

kan; :krm), my taikan demonstrates my great resolute

ness (taikan; :klt). This book is by no means the great

Tsurezuregusa ("Essays in Idleness") by Yoshida

Kenko, yet I will resolve to write it just the same, even

though it be hard. Times long ago and the present time

are connected without interruption. It really is the Konjaku

MOl1ogatari-literally, a story of now and times gone by.

Sometimes I look at myself as Don Quixote, laughing at a book of

jests, writing the book of a playful demon. Readers, I would like you

to have that much ease yourselves, and reading this book many

times as a secret scroll of Budo , persevere and see through the

abstruseness (nankai; ~fW) to the wonders it contains (nankai; 91fH~).

Let's also mention here that you should not just read the records of

Budo and think you have completely understood it. Budo only has

substance in a world of great dignity.

The Bible of Martial Artists

This book is the bible of martial artists; it is the scriptures of martial

arts. In this book, the ideal and actual are joined, things that would

seem not to exist have reality and things that are impossible but

which you desire to be are made feasible.

It is said that the Wisdom Sutras (Hannya Shinkyo) are the

essence of Buddhism. However, the "han" (Ill!:) here is also the han

of BugeiJuhappan (the eighteen basic military arts) and "ya" (;fi) is

you th; therefore , I interpret "hannya" as the training of young war

riors . There is also the logic of Budo hidden within the Wisdom

Sutras. In this way, the characters ofJapanese can be changed and

replaced. Don't think that only certain characters or certain thoughts

are correct-as in Budo and as in life , it is important to be able to

use Kyojitsu Tenkanho (the interchange of truth and falsehood).

Through Budo Taijutsu , which has become like a World Heritage,

the expression of the roots of the unconscious within ourselves, of a

way of life: that is the purpose of this book. Through the techniques

of Kosshi jutsu, Koppo jutsu , Ninpo Taijutsu, Jutaijutsu, Daken

Taijutsu, and the unification of the nine traditions of Taijutsu , one

can approach the essence ofBudo.

The 32nd Grandmaster of the Togakure-ryu , Toda Shinryuken

Sensei, was the Head Teacher of the Koubusho (the school for train-

12 I N TR O DUC TI ON

ABOVE: Uchine-spear-shaped shuriken (throwing blades). BELOW: The bottom edge displays a carving of the family crest of the Tokugawa shogun. The crest is called Mitsuba-aoi.

ing of the shogun's retainers). However, after the assassination of Ii

Naosuke (who was the Chief Minister of the shogun) , Shinryuken

read the turbulence of the times and the coming destruction of the

Tokugawa government and quit the Koubusho, opting for the life of

a wanderer, spreading the teachings of the martial arts. Budo has

been transmitted through this ability to foresee the essence of

things. We hear the truth of Toda Shinryuken Sensei's martial song:

"Know that the secret of Taijutsu is the foundation of peace. If you

learn this , you can walk the path of the immovable heart. "

In the teachings of the martial ways, there is the phrase "Calm

presence of mind," and Sir William Osler, the doctor, has said , "For

a doctor the most important thing is to remain calm in all situa

tions. " Starting with Tokugawa Ieyasu , known as "the General ,"

exceptional warriors have studied medicine . Akiyama Shirobei

Yoshitoki of the Yoshin-ryu is known as a famous doctor.

We should also see resuscitation methods as a form of medicine.

Formerly, the method of medical treatment called Hichibuku

goshinjutsu was learned as part of the process of acquiring Budo

Taijutsu. That essence is transmitted as the Scroll of "Divine Mind"

(Shinshin no Maki) , the Scroll of "Divine Sight," and the third scroll

as a method of treatments of all kinds and the knowledge to cure ill

ness. In particular, these scrolls hold sincere heart and sincere feel

ing as secrets.

Certainly, textbooks can be educational, but when you get into

the study (or money) of textbooks , there is a danger of people

becoming monsters. let's write "textbooks" (kyokasho ; ~Hin as

the "beginning of study" (kyokasho ; ~f4*1f). People who study mar

tial arts should not stop at being one-sided collectors. I would like

you to separate from the concept of being a collector and be

immersed (senyu; MA), or be inspired (senyu; OOA), by the world of

Budo Taijutsu.

Bujinkan Budo Taijutsu Today

The word "expert" (meijin; l1A) can also be written as "life person"

(meijin; tffr.A) , and those who protect the life of nature are called

warriors.

In the martial ways, we must not overlook the existence of the

Shitenno (the Four Devas) that protect the ability of those that are

leaders. We can think of the Shitenno as haVing been called into

existence as gods of the military arts that protect Buddhism and pro

tect the world. let us not forget that they have become the protec

tion of the martial ways.

THE TR U E M E AN I N G O F BUDO TAIj U T SU H A PP O 13

It is said that amongst the Shitenno, Tamonten (Bishamonten) pro

tects the north,likokuten protects the east, Komokuten protects the

west, and Zojoten protects the south gates of Buddhism and of the

warrior class . They are given as model examples of military com

manders , four brave gods that protect the four directions of the war

rior class, to whom the Prince Regent Shotoku Taishi prayed to

protect Japan when the clans of Soga and Mononobe fought their

great battles during the Nara period.

One can hear in the wind that the Cro-Magnon (who liked con

flict) massacred the Neanderthal (who did not like conflict). The

wind of history blows by freely and passes away. So , let's try listen

ing to the trade winds regarding civilization and humanity. Four

great civilizations flowered in Mesopotamia, Egypt, Indus, and the

Yellow River ; however the Cretan, Mayan, and Meso-American civi

lizations are worlds that have vanished into the dream of other

civilizations created by man.

Looking at this , I live day to day asking, "Is this right? "- these

changes in the existence of civilizations, not only for the existence

of humankind but also for nature that lacks a voice. Let's write this

as the expert (meijin; ijA), or the life person (meijin; ffrIA ) , who

has the readiness to study through the martial ways. Let's speak

about this as experts together (meijin doshi ; ijAIi'll;G;) , or "life peo

ple with the same goal" (meijin doshi ; tliJAIi'll;G;) , about the natural

world, about all things in nature. The people who talk about this for

posterity will preserve the transmission (densho ; wii<) .

14 I N TR O D UCTI ON

I

I

Kodachi by Sanjo Munechika .

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Scroll detailing Japanese archery techniques .

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Scroll denoting the military deployment of Hatamoto's troops. Hatamoto was a retainer of a shogun.

.:~*;-- "X Ii f.

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A book on Kumiuchi illustrated by Utagawa Sadahide.

THE TRUE MEA N I N G OF BUDO TA IJ UTSU H APP O 15

CHAPTE R 1

Kihon Happo ~*J\~

Gyokko-ryu Kihon Happo 3iJJEmt~*J\m

Takamatsu Sensei once said, "This Kihon Happo

(eight basic principles) is the like the roo t ofBudo."

Talking of the root and branches of Budo, we have

to see the existence of a seed . If so, then we must

talk of Darwin , wh o sp oke of the origins of

seeds . .. however, we then hear the mutterings of

the proverbial question of whether the chicken or

the egg came first. In 1951 , Ichiro Oga, Professor at

the Agricultural Department of Tokyo University,

discovered three lotus flower seeds that had been

sleeping deep in the ground from long ago in

ancient ruins from theJomon period in Chiba pre

fecture; they were 2,000 years old. When he planted

the seeds in soil , they sprouted and bore a large

lotus flo wer. This became know as the Oga Lotus,

the "Oldest flo wer in the world ." This can be

thought of as the flowering of the Lotus Sutra.

Looking at things that are transmitted by the teacher

to the student via the flo wer and the bamboo like

this is one of life's little amusements.

Training in the Kihon Happo

The Kihon Happo is not limited to the Kihon Happo of Gyokko-ryu

Kosshi jutsu, but exists dormantly within all nine schools that I

inherited from Takamatsu Sensei. By learning this Kihon Happo , fol

lowing the technique ofJuppo-sessho as a tool of self-defense, you

also learn the use of the knife and pistol and awaken to the sanshin

16 CH AP TER 1

Wood print depicting Kumiuchi in battle from a famous story about Toyotom i Hideyosh i.

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Scroll of Yagyu Shingan-ryu .

no kata in three directions using blinding, shuriken , and stones, as

well as stick fighting. This is in order to develop the basic feeling of

actual fighting. At the same time, in the process of this training, the

development of the ability to judge natural justice is key.

If you think that the character Ki (¥ ) of Kihon Happo is simply

one character and stop there, you will miss the real attitude ofBudo

Taiju tsu . Writing the four charac ters of Kihon Happo (¥;;$:/\$) as

Kihon Happo (~;;$:/\$ ) you will feel the beginning of Taijutsu ; as

Kihon Happo (~;;$:/\$) you will see something like kyojitsu , tac

tics , or strategy of ten-chi-jin; if you write Kihon Happo (*;;$:/\$)

you will see the play of demons; and if you write Kihon Happo (1:;;$:

/ \$) you will perceive the origin of life.

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KIHO N H A PPO 17

Takamatsu Sensei.

Scroll of Yagyu ;;hingan-ryu.

no kata in three directions using blinding, shuriken, and stones, as

well as stick fighting. This is in order to develop the basic feeling of

actual fighting. At the same time, in the process of this training, the

development of the ability to judge natural justice is key.

If you think that the character Ki (~) of Kihon Happo is simply

one character and stop there, you will miss the real attitude of Budo

Taijutsu. Writing the four characters of Kihon Happo (~:;js:J\i'! ) as

Kihon Happo (!l]:;js:J\i'!) you will feel the beginning of Taijutsu; as

Kihon Happo (~:;js:J\7*) you will see something like kyoji tsu , tac

tics , or strategy of ten-chi-jin; if you write Kihon Happo (Jtl,:;js:J\7*)

you will see the play of demons; and if you write Kihon Happo ( ~:;js:

/\i'!) you will perceive the origin of life.

kAt, Iil " 1~ J 't .\.. Co , h

~t, liiI.. '" y

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i

KIHO N HAPPO 17

Here I will add something regarding the scroll of kyojitsu , which

was transmitted from Takamatsu Sensei, about the essence of kyo

jitsu. Takamatsu Sensei received the Grandmasterships from Toda

Sensei, Ishitani Sensei, and Mizuta Sensei in his youth and as a

young man. The martial stories of his younger days that Takamatsu

Sensei spoke of, while not the Arabian Nights, were both enjoyable

and scary; I used to become drunk listening to them.

I felt that Takamatsu Sensei's training in Japan was quite excep

tional. I believe the many actual experiences in his younger days and

his experiences overseas, in which Takamatsu Sensei risked his life

and survived, greatly enhanced his kyojitsu. This may indeed be the

biggest secret of martial artists that is handed down. Thanks to this

"raw" kyojitsu, I have been able to travel the world for over two

decades without any incident. Kyojitsu, we might say, are the "demon

thoughts" that have survived the times of kyojitsu that are war and

peace. It is the Guinness Book oj Records. The taste of the Guinness

beer that I drank in Dublin, Ireland, has a similar mellowness.

The eight loyal brave humans from the novel Satomi Hakken-den.

18 CHAPTER 1

Bronze sword.

Kabutowari (sword designed for splitting the helmet).

Kyojitsu is life and death; completeness (kanzen; 7t~) is "to per

severe or to continue completely" (kanzen; ffi{~) . In order to perfect

Budo Taijutsu, you must persevere. Bufu-ikkan ("to persevere in the

martial ways")-this is the world of the divine skill of Budo

Taijutsu.

I can recall an image of Takamatsu Sensei as if on a giant movie

screen saying through thick tobacco smoke: "Kihon Happo, perse

vering in Budo for all this time, I believe it is the root!! " This was in

Showa 33 (1958). In the same year, the film The Old Man and the Sea

also made a big impression on me. Takamatsu Sensei's words hung

alone in the haze, surrounded by silence, just like the old man in his

boat. Writing musical notes (onpu ; Tif:ffi= ) as "distant warrior" (o!lbu;

~tEt), from all the musical notes, CDEFGABN , comes a thirty-sec

ond note , N, as a combination of eight. This is martial rhythm- the

strange sounds (onkai; Tift;t) of the musical scale (onkai; Tif~) . This

type of expression is a way of quickly understanding the Kihon

Happo.

K IH O HAPP O 19

From the time of the sword masters and from earlier periods, the

gun was imported into Japan and gun techniques were developed at

the same time as the rest of the world . Clearly the gun is a superior

weapon, but prevailing thought still revered the sword as the great

est weapon of the warrior. Do not assume the sword is everything in

martial arts, for the relationship of the sword to Budo is all too often

heralded as just that. I would like you to look very carefully at not

just this relationship , but also the relationships between Budo

Taijutsu and other weapons.

Regarding the basics of Taijutsu that are the Kihon Happo , I

would like you to train giving importance to the "raw sound of the

eight ways" (kion ; ~{f) .

Words from Takamatsu Sensei on the Gyokko-ryu Kosshi Koppo Jutsu and Koto-ryu

On the 10th January Showa 36 (1961) , the day of

Mirror Opening (Kagami Hiraki no Hi), Takamatsu

Sensei said the following: "In connection with the

Budo of Gyokko-ryu Koppo jutsu , during the instruc

tion from Toda Shinryuken Sensei , I was fin ally

taught that Gyokko-ryu Kosshi jutsu Kihon gata gave

rise to the Koto-ryu and is the roo t from which many

other Budo techniques developed.

"Today, on careful consideration of this and in

reflecting on the point that Gyokko-ryu is the source

of Budo and that it also gave rise to Ninjutsu , I ask The stance of a warrior.

to become an accomplished Budoka.

To those of both the literary and military arts , let's

say that literary (Bun) is worth 5 points and martial

(Bu) is worth 5 points.

2. To those that desire to know the literary and military

arts consciously, I would answer that Bun is worth

just 1 point since it is conscious matter and the sub

consciousness is worth 9 points.

So, as for the passing marks for the "conscious

ness literary and military arts" (this includes both

conscious and unconscious), that for literary matters

20 CH APTER 1

(Bun-ken) is 6 and that for subconscious martial

matters (Bu-sen) is 14, thus 6 to 14.

3. A Budoka's heart is worth 5 points, and by perserver

ing with the martial way (bufu ikkan) is worth 5

points. That makes 10 points.

Each of these 3 items contains a maximum of 10

pOints, which makes for a total of 30 points (needed

to get a passing grade to be a Budoka).

This is how I would like you to read this book of Budo

Taijutsu.

you (the au thor, Hatsumi) to teach the Kihon gata Happo as the

foundation to students that have joined the dojo and to refrain from

teaching them until you have become a master yourself. .. "

KIHON HAPPO GAIA ¥*i\~~ _

It is said that the Kosshi Sanpo and Torite Goho together make up

the Kihon Happo.

KOSSHI SANPO .T=~

1. Migi Ichimonji no Kamae :tl-x*O)m;t

In right ichimonji posture. Right ichimonji means a posture in which the right hand is

extended out forward, the left hand is in a fist with the thumb protruding out and

placed over the elbow joint of the right arm.

Turning the right hand to the right, rotate to the left shoulder from the direction of

the hips. As you turn the arm, make sure to change the fist. This helps to frustrate the

opponent's attack.

Turning the left hand to the left, the hand half opens; strike into the right side of

the opponent's neck at the same time that you step forward with the left leg.

Hidari waza is also the same. Repeat this eight times.

2. Migi Hicho no Kamae :tl11U"l;O)m;t

Raising the left foot to the knee area of the right leg, the left hand is half opened and

extended, the right hand is in a fist with the thumb extending positioned in the area

of the left elbow.

Turn the left hand to the right, toward the lower left, without changing the posi

tion. As before, the hand changes. The left foot kicks into the opponent's suigetsu (the area of the body between the

navel and the solar plexus) as you move forward.

Half opening the right hand, strike into the artery on the right side of the oppo

nent's neck. Turn from the right hip area, positioning at the left shoulder area.

Hidari waza is also the same.

3. Migi Jumonji no Kamae :tl+x*O)m;t

Be positioned in jumonji with the left hand on the inside.

Turning the right hand as it is to the upper right, strike in to the chest area of the

opponent with the right thumb. Raise the half-opened hand to the right side.

Turning the left hand as it is to the upper left, strike in to the right chest area of

the opponent with the left thumb. Half opening to the right side, raising. At this time,

the right hand changes, moving into jumonji .


KIHO HAPPO 21

--~

" * ----------~----------------~-----

-

1. The opponent grasps the chest with their left hand. Drawing the right foot back, lift your right hand up to the outside wh ile reversing the wrist. Turn the wrist and bring it down. At this time, the kuden of the principle of Mune Dori . The receiver

places his left hand on the opponent's right hand. H idari waza is also the same.

2. The opponent grasps the chest with their left hand and strikes in with the right hand. Receive this with a left-hand fist. At the same time, take the wrist of the

opponent's left hand with your right hand and reverse to the outside. Throw as 1. The important thing here is to move the body with the right hand in the center as you place your right hand on the opponent's grabbing hand and they punch in wi th the left fist. This practice is the first thing.


3. The opponent grasps the chest with their left hand. Changing instantly, take the opponent's left wrist in reverse with your left hand and pull the left foot back, pull

ing the reversed wrist down. Turn the wrist up, pull the right foot back, and throw. Hidari waza is also the same.

4. The opponent grasps the right-hand sleeve with their left hand. Pull the right arm together with the body to the right. Wrapping over the arm with a sufficiently large motion, kick the right knee as you take the arm in a lock to throw the opponent. The opponent falls face upward.


5. The opponent grasps the right-hand sleeve with their left hand. Pull the right hand back with the body, and wrap the opponent's left hand from the inside of the right hand. Throw the opponent in reverse as you turn the left foot behind.


The Kihon goes from the "beginnings" (kihon; jffi2js::) to the "novel" and "mysterious" (kihon; ~2js::).

The warrior's attire for the legs and feet.

Woodprint showing the warrior Kiso Yoshinaka's troops.

KIHO N HAPPO 27

Kage Hicho no Kamae. Kage Bobi no Kamae. Kage Hoko no Kamae.

I

'" • '+ " -':i'>~ "'~.... • • -.r' -, ...... " ..... - ~... &-r_._",....... ..... ~

CHAPTE R 2

Sanshin no Kata and Ukemi gata Taihenjutsu ~JG\O)~c~Jl~1*~UJ

The Essence of the Sanshin no Kata

The Sanshin no Kata is divided into the five forms of

the Gogyo: earth , water, fire , wind , and "void. "

However, in the same way that there is the expres

sion "to be in perfect health" (gotai manzoku; nf;$:liMJ

,'E), you should understand the whole body of the

person (gotai; n i<$:) and the five elements (gogyo; n

ff) of nature. This point is crucial. Speaking of the

Sanshin no Kata in Budo terms, understand this as

mind, technique, and body (shin-gi-tai ; {,,:J5Zi:;I;;) and

in the idea to conceal or endure the body, heart, and

consciousness (mi 0 shinobi, kokoro 0 shinobi ,

shiki 0 shinbu; $!z. ;~:W· , { "z.2lf, illll\z.2J~) . In the

Bujinkan Dojo the rank of 15th dan, which is the

highest rank, expresses the idea of 3 hearts x 5 ele

ments = 15 austerities; however, potentially this may

also overlap with my experience of training for 15

years under Takamatsu Sensei.

The Significance of Paying Respect to the Mirror

Speaking of the Yata no Kagami, one of the three

sacred treasures of the Imperial Family, there is a

hidden meaning of the Divine Imperial Mirror: seven is an evil num

ber and the number eight, which surpasses the inspirational

moments on the verge of life and death , is a number of life.

The mirror has a strange existence in the world. In the story of

Snow White in Grimm's Fairy Tales, the Queen asks "Mirror, mirror"

and the mirror's answer determines the fate of the lives of the Queen

34 CHAPTER 2

Heaven and Earth become one on the curved sky.

and Snow White. Lewis Carroll's tale in which Alice passes through

the looking glass into an alternate world is also famous. We are also

led into the world of Orphee through a mirror in the film directed

by jean Cocteau.

Writing mirror (kagami; til) as model (kagami; £I.!i) leads us to the

idea of the model of honor, the exemplification of the warrior. From

when , though, can we see this model (kagami; £I.!i) of the warrior,

that image reflected in the mirror (kagami; ~)? Let's try to go back

to the distant past to the ancient "time of the gods." First, let's listen

to the oral tradition of the storytellers of the imperial court in the

Kojiki ("Records of Ancient Matters ;" japan's oldest historical

record). Then, the reflections in the mirrors of historical stories of

Okagami , Imakagami , Mizukagami , and Masukagami. Let's look at

Heike Monogatari, Shomonki , Hogen Monogatari, Heiji Monogatari ,

Genpei Seisuiki , Jokyuki , Meitokuki , Oninki , Gikeiki , Shinchokoki ,

and Taikoki.

Then, like a magic mirror, the depths of the hearts of mankind

are revealed. That is because the flow of settled tears of regret of bat

tlefields that are reflected in the ripples that glitter on the surface of

the Sanzu River (The River of Three Crossings, which the dead must

pass on their way to the afterlife) reflects the images of silent movies.

Switch on, speakers come to life. The song from the film Casablanca,

"Time Goes By Jl ," plays. Then the words of the German legal scholar

jhering, are projected on the screen: "The goal of law is peace and

the means to achieve this is struggle. "

.. ~' ,...~.;: " ••• " ' oc ",~",_~_.

- -

h------.___ __ ____.--- __ ..

Sword, kojiri, and leather saya.

SANS HI NO KATA A D UKEM I GATA TAIHE I J UTSU 35

SANSHIN NO KAlA ,=,'L,O)m! .~

Chi no Kata itho)~

Start in a natural stance (shizentai). From a posture facing to the right, step with the right foot at the same time as extending three fingers of the right hand. Next, extend the three fingers of the left hand at the same time as stepping with the left foot. Both hands are extended, with the thumb of each pressed onto the third finger. The left hand, which has been drawn back, changes into a fist with the thumb extended.

Repeat this three times.

Sui no Kata *o)~

Natural stance. Pull the right foot back, the left hand forward of the left leg. Extend the left hand out straight and the right hand in the area of the belt on the right-hand side is in a fi st with the thumb extended. Block. Strike with shuto (the palm faces up).

Also on the left. Repeat three times.

Ka no Kata *o)~

Natural stance. Pull the right foot back, the left hand is forward of the left leg. Extend the left hand out straight and the right hand is in the area of the belt on the righthand side in a fist with the thumb extended. Block. Strike wi th right shuto (the palm faces down).

Also on the left. Repeat three times.

Fu no Kata Ji1.0)~

Natura l stance. Kamae. Lower block. Right strike with the fist, thumb extended . Also on the left. Repeat three times.

re is an expression that is key to martial philosophy

lled bufu ihhan (martial way; Ji;\,!i'!- ll). In my experi

ence, in the case of an artist's life, whether their art be

ballet, music, or painting, if a professional takes even a

few days off, the next time they perform it's difficult to

get that lost time back. Within the space Ckukan; ~rd:l)

of bufu ihhan, that gap, even in martial arts, that magical

gap of truth and falsehood Ckyojutsu; ~~) can never be

overcome. With time off from training you fail to recog

nize your own inability. This is not limited to the world

of victory and defeat-regardless of the way, by having

long gaps in your training you merely end up like a

36 CHAPTER 2

mountain ascetic from Kume [Okayama prefecture] .

CKume no Sennin, according to legend, was an old

Buddhist ascetic who attained special powers though

years of devoted training. He fell from grace, however,

at the sight of the naked flesh of a woman's leg who was

washing clothes.) The repetition of daily training leads

to the way of a great warrior. I often heard Takamatsu

Sensei speak of the heart of a martial artist and of perse

vering on the martial way, and when I run into a wall,

those expressions answer with the grace of Heaven

Ctenyu; :X*) , and consistent courage Ctenyu; il!i9.i ). That

becomes a reincarnation for escaping from hell itself.

Ku no Kata ~O)~

Natural stance. Kamae. Lower block. Raising the right hand up, lowering the hips, kick

high with the right foot.

Also on the left. Repeat three times. Oral transmission.

SANS HI N NO KATA AN D U KEM I GATA TAIHE NJ UTSU 37

lAIHEN UKEMI GAlA 1*.~.1II

1. Mae gaeri (Zen po kaiten)-Forward roll ilfj~1J (ilfj1J}!g!~)

Two-hand forward roll, one-hand forward roll, left and right, forward rol l with no hands, flying ro ll with two hands (air roll- forward with both hands, forward with one hand; sideways roll - sideways with both hands, sideways with one hand,

rolling-flying ro ll ing), natural applications.

2. Yoko gaeri (left and right roll)-Sideways roll i'lil~1J (:tc:o}!g!~)

Rolling sideways with both hands, rolling sideways with one hand, rolling sideways without using hands. flying roll (air ro ll , sideways, fl ying roi ll. natural applications.

3. Ushiro gaeshi (ushiro kaiten)-Backwards roll f&-3~L, (f&1J}!g!~)

Rolling with both hands, rolling with one hand, rolling without using hands, flying roll (air roll, sideways, flying roll), natural applications.

4. Zenpo ukemi-Forward breakfall ilfj1J~:!f!

From an upright kneeling posture forward breakfall with both hands, forwa rd breakfall with one hand, from standing (both hands), natural applications.

5. Ryusui-Flowing water ;nt7.l<

Suiryu (in a standing posture, "flow" to the side), hidari yoko ryusui, migi yoko

ryusui, tomoe gaeshi, kuruma gaeshi, natural response.

6. Shiho lenchi lobi-Four directions, "Heaven and Earth" jumping ~1J7<:±t£f!W

Leaping low and far rather than high, in four directions.

The Heaven of tenchi is in the clouds, the Earth is in the flow.

.The habit of water is to flow downhill; howevel; this is

the start of the climb back up. Oral transmission.

lAIHENJUlSU MUlO-DORI GAlA 1* ••• ]].111

1. Hira no Kamae 3:jL(J)ffij;t

The opponent draws the sword and assumes daijodan no Kamae. The sword is free to

cut down or come from the side. Take the distance of 3 shaku and stand to face the opponent. Remaining in place until they cut in, at the moment they cut, pull the right foot one step back. At the same time, take ukemi, rolling to the right and stand back up.

42 CHAP T ER 2

2. Ichimonji no Kamae -)(~O)mx.

The opponent's tachi is in da ijodan. As above, they can cut freely. At the moment they cut in, roll to a distance of 3 shaku (1 shaku = approx. 1 foot/3D cm) from the oppo

nent and come back up. At the moment the opponent tries to cut aga in, leap in and, sitting on the left foot, strike into the suigetsu with the right thumb.

3. Jumonji +)(~

The opponent is in daijodan and cuts in. Next they cut again freely. Shift the body freely to the left and right, then pull the left foot back. Immediately extend the left foot out. Pull the right foot back. Immediately extend the right foot out. Strike into the

opponent's neck with left and right shuto.

Ukemi and Taihenjutsu.

Don't catch the stick. Make the opponent float in the position of tsuki .

SANSH I N NO KATA AN D UKEM I GATA TAI HE NJUTSU 43

CHAPTER 3

Gyokko-ryu Kosshi jutsu ~J1emt~mf,fij

Kosshi Sanryaku 1tm-=:~

It is taught that Gyokko-ryu Kosshi jutsu

is the foundation of japanese Budo.

Kosshi jutsu is handed down in three

secret strategies (Kosshi sanryaku) ,

which are combined in one scroll. These

strategies are the jo ryaku (Ten ryaku;

7(~) no maki, the Chu ryaku Gin ryaku;

.A~) no maki , and the Ge ryaku (Chi

ryaku; tt!l~) no maki. Within the jo

ryaku is the concept of the universe that

is the mystery of ever-changing nature

in which we are born and develop the

spirit of Banpen Fugyo (many changes,

no surprises) . By obeying the principle

of Bank a Shizen (ever-changing nature),

we can enter the living spiritual power

through Ten ryaku Uchu Gassho (heaven , universe, prayer). There,

death is changed to life, the spiritual power of man influences the

power of nature, and martial peace is treasured. Life and death (shi

sei; JE1:) is the warrior's life (shisei; ±1:); the life of the warrior can

be found by looking at Bushido in its natural state.

As for the warrior (Bushi; :lit±), or the form of war (Bushi; :lit~),

all things in the universe have universal gravitation and are drawn

to one another, but the warrior must convert this power into the

power of self-defense with the force of wind and daring in all things.

Within the jin ryaku Hanno Banitsu no maki is the concept of

facing the opponent and, when you see the essence (kosshi) of the

best timing, with the momentum of a flood overflowing, you down

46 CHAPTER 3

Ta kamatsu Sensei making a symbolic sign .

the opponent with the power of will . Consider carefully this image

of the force of nature in a powerful flood-your mental power

should equal this.

It is often said that in the past fortunetellers made use of the con

cept of feng-shui (fusui; EliI7l<) to advise martial strategists, but if you

connect the three secret concepts of universal consciousness, wind

consciousness, and water consciousness , and train in Kosshi

Taijutsu , you will find the essence of that fusui.

Scrolls of Gyokko-ryu Kosshi jutsu and others.

Secret textbooks of Gyokko-ryu and others.

GYOKKO -RYU KOSSHI JUTSU 47

Bushido and Kosshi jutsu

When studying the history of Budo, training in Budo Taijutsu, and

reading the old texts to pass the time, we can first understand the

essence of these old texts , then we can hear the way the authors

lived their lives and took the measure of their writings. Such books

include a collection of avant-garde comic stories (Seisuisho) by a

seventeenth-century monk or a collection of poetry (Shoryoshu ) by

the famous eleventh-century monk Kukai. One day, when I was

being instructed in the secret history of Amatsu Tatara by Takamatsu

Sensei , I remember him saying: "The Tatara contains the secrets of

religion and martial arts. "

Rereading the old texts , my eyes stopped on the character

"Tatara. " It is said that the wife of Emperor Jinmu (the first emperor)

was the Queen Tatara lsuzu Hime no Mikoto. To explain the secret

transmission of Tatara that exists in the sacred shrine of lse-jingu on

the lsuzu River would fill an entirely separate volume, so I will just

address the main points here.

This secret verbal transmission of Tatara became key to the intro

duction of martial arts , including martial strategy and sword fight

ing, throughout the east and west across the whole expanse of the

old Tokaido highway that runs through Japan . In Gyokko-ryu

Kosshi jutsu there is an extremely important Kihon Happo (eight

basic moves) , and this Kihon Happo contains eight variations of

color (yakusa; J\t5) . Let us consider this yakusa as eight variations

of grass (yakusa ; J\14! ) and the beautiful haiku of the great seven

teenth-century poet Basho springs to mind: "A mound of summer

grass, are warriors heroic deeds , only dreams that pass?" It is said

that the sword Kusanagi no Tsurugi, which was worn by Yamato

Takeru no Mikoto , lights the way of the warrior which military offi

cers that serve the imperial court walked.

You can see the flow of time in the past and present of the war

·rior. Yes , the samurai maintained government for around seven

hundred years . Well, from around two hundred years before that

when they actually took power. So Bushido has walked this path for

around nine hundred years. No , it has run ...

Facing the Opponent

First of all, I am in Uchu Gassho, Banpen-fugyou (many changes, no

surprises) . Astrobiology is shared by all things and every moment in a

state of spontaneous natural calamity, and always is in the process of

change. Any occurrence can happen at any time. This is the truth of

48 CHA PTER 3

A painting by Salvador Dali owned by the author.

"Kotsu" ('lit; bone). Kosshi (~T)

means the "key point." This callig raphy by the author shows the character.

Sakanoue no Tamuramaro, the descendant of (ho Suson, master of Kosshi jutsu and Hicho jutsu.

Finger exercises using walnuts. Blinding powder has been inserted into them.

Finger exercise using a stick.

spontaneous change. Therefore, I never go against nature and favor the

quiet mind that is never surprised, that remains free from conflict.

Followed by kiai, assume the position of Tenchi Inyo no Kamae.

JORYAKU J:1II3 ~"~

Koku ~@

The opponent comes with a right strike to the face. Block the right strike with the left

arm, and immediately strike down with a shuto to the hoshi on the opponent's attack

ing arm.

The opponent then comes in with a right kick. Kick up into the opponenfs right leg with the left leg, simultaneously striking the opponent's betsumetsu with a left

boshi. Assume zanshin.

Renyo ii!il\! (The palanquin of an aristocrat)

The opponent attacks with a right strike to the face. Block with the left arm.

The opponent comes in with a right kick . Kick up into the opponent's right kick

with the right leg. The opponent then takes the sing le lapel wi th the right hand. Strike

the right side of the opponent's neck (amedo) with a right shuto, take the opponent's

right wrist with the hand, and pu ll the right leg back to the side, taking the oppo

nent's right hand into a lock. Suddenly the opponent stands upright, so immediately change and with the left hand grab the area of the opponent's right elbow while

simultaneously taking the opponent's right hand in a la rge reverse to the left. Again

kick in with the right foot, knocking the opponent back, and with the left foot kick

into the opponent's chest. Assume zanshin. Practice these five steps in one instant.

Danshu ~~

The opponent takes the right sleeve with the left hand. Instantly pull the right hand

back, and rotate the right hand to the right, creating a reverse (gyaku) on the oppo

nent's left hand.

The opponent comes in with a right strike. Block the opponent's

right strike wi th the left hand, and immediately strike into the opponent's left neck (amedo) with a left shuto. With the right foot

kick into the opponent's left leg, creating takeori, and with the right

hand reverse choke. The opponent fa lls on his back. Kick the oppo

nent's side with the right foot. Assume zanshin.

Danshi ~ti1i

Nine prohibit ions of Gyokko-ryu Kosshi jutsu.

The opponent takes the single lapel with the left hand. Ta ke the

opponent's left hand in omote gyaku with the right hand. The

opponent immediately strikes for the face with a right strike. Block

with the left arm, and immediately strike the opponent's chest with

a left boshi. At the same time, kick in with the right leg, creating a

right gyaku shime. The opponent falls back. Kick into the opponent's

chest with the left leg. Assume zanshin .

GYO KK O -RY U KOSS HI J UT SU 49

Gyakuryu ~;m

The opponent comes in with a right strike. Take one step shifting to the left side, and receive with the right arm . At the same time, kick in with the right leg. Kick up from the opponent's lower right leg at the same time, and take the opponent's right hand

in omote gyaku with the left hand. The opponent comes in with a left strike to the suigetsu. Receive the opponent's

left hand with the right arm, and quickly strike the opponent's right neck (amedo) with a right shuto. The opponent falls back. With the left hand take omote gyaku and lock, kicking the opponent with the left foot. Assume zanshin.

The opponent comes in for a single-lapel grab. Kick up into the opponent's gedan 'with the right shin while simultaneously striking from above down into both the opponent's hands. The opponent quickly comes in with a right strike. Immediately block with the left arm, strike the opponent's right kasumi with a right shuto, and kick

the opponent's chest with a right kick. The opponent falls back. Assume zanshin.

Hanebi Jlj~*

The opponent comes from the rear and grabs the neck. Twist the body to the left, drop the hips, and take the area of the opponent's palm of the grabbing hand close to the little finger with your right fingers. The opponent comes in with a right kick. Block

the outside of the opponent's right kicking leg with the left arm and immediately with the right hand execute a gyaku on the opponent's right hand and hold for an instant. Twist the body and kick in with a right kick. Cause the opponent to fal l down by a

wrist lock. Assume zanshin.

50 CHAPTER 3

Keto ~fiiJ

The opponent comes in with a right kick. Pull the left leg slightly, and with the right

leg kick up from below the opponent's right leg. The opponent shifts and comes in with a right strike. Block with the left arm and immediately hit the opponent's face with a shako te (claw-shaped hand). At the same time kick the opponent over with a right kick. The opponent falls back. Assume zanshin.

Yubi kudaki mWf The opponent grabs the back of the neck from behind. Instantly drop the hips and twist the body, and with the right hand grab the palm of the opponent's grabbing

hand close to the little finger. If this is slightly pulled it creates an opening. At the same time, strike the area of the opponent's chest with a left strike, and take the opponent's right hand into a lock. Pull the left leg back and sit and throw. The opponent will land on his back. With the right foot kick in, then assume zanshin.

Ketsumyaku ~Ilm

The opponent comes from behind and applies sankau jime. Slightly drop the hip and with the left hand slightly take the opponent's right arm. With the right hand apply pain by using a boshi into the opponent's inner elbow joint. As soon as the opening

presents itself, quickly throw in seoi nage. Kick with the right foot, then assume zanshin.

Sakketsu ~~

The opponent comes from behind and applies a bear hug. Move the hips backward to create an opening and quickly take a lock on the opponent's right fingers with the

Il lustration of the warrior Nitta Yoshisada jumping the Tenryu River.

right hand. Twist the body to the right, strike back into the opponent's face with the left hand, and throw forward in ganseki otoshi. The

opponent falls forward. Kick with the right foot, then assume zanshin.

Teiken lllB~

The opponent comes from behind and applies a hagai jime (pinion lock; similar to a full nelson). Drop the hips and extend both arms, then grab both his palms with your hands reversed, and push your thumbs on the backs of his

hands. Extend your arms out, slip out to the left, and the opponent will fall back. With only

the right hand, throw in kata te nage. Kick in wi th the right foot. Assume zanshin.

The greatest secret of Budo is to maintain Bufu Ikkan (the way of

war is survival). This is the yang secret. Another secret is to nourish

the mind without making the first move. Regarding this mindset, if

faced with a desperate situation, change from yin to yang. In order

GYOKKO-RYU KOSSHI J UTSU 51

take the opponent's right arm and enter in on the right side. With the left hand execute matsu takeori and knock the kodachi out of the opponent's hand.

Keep the opponent's left wrist and immediately strike the opponent's face with a right shuto. Ta ke the opponent's right shoulder with the right hand, place the right foot in front of the opponent's right foot, and sit back with the left leg. The opponent

falls back. Kick with the right leg. Assume zanshin.

GERYAKU ""fill! " -

Martial arts are kept secret, flowing clouds and running water. Heaven

and Earth are one. - (signed) Venerable White Dragon

Realize that the opponent is desperate. When the opponent is going

to start an action, make the posture of Hanno Banitsu, with the

hands crossed tightly. The posture expresses the decision of break

ing even the rock in the flood.

Shunu 1!/[ht

The opponent moves to draw the daito. Like a falcon, grab the opponent's sword pommel with the left hand. The opponent attempts to take a step back to draw the sword. Immediately thrust under the opponent's nose with a boshi, thus throwing the opponent into confusion . Immediately take the pommel with the right hand, take a step back, and simultaneously draw the opponent's sword. With the left hand on the

blade assume the kamae of a thrust. Assume zanshin.

Shunsoku 1¥~

The opponent attempts to draw the daito. As in the previous move, stop the pommel. The opponent strikes the left wrist with the right hand. Shift to the opponent's left side, and take the end of the saya with the right hand. With the left hand, take the opponent's left wrist, and when you lift the right hand it should hold the opponent's left hand by the scabbard. The sword pommel is thrust into the opponent's left leg.

The opponent falls back and is held by the sword. Immediately kick in with the right foot and hold the opponent down.

Ichigeki - . The opponent poses in Daijodan no Kamae. Just as the opponent is standing in daijodan no kamae, hold the opponent's right elbow with the left hand, immediately strike

the opponent's chest with a right boshi, and kick up with the right foot. The opponent falls back. Immediately with the right leg kick with takeori to the

side of the opponent's right leg. Assume zansh in.

Kaisoku 9/iJ;~

The opponent cuts in from Daijodan no Kamae. Shift the body to the left. The opponent's cut flows by the right side and the sword flies away. Immediately kick up into

the opponent's right hand with the right leg. The opponent places a hand on the

54 CHAPTER 3

'~ I r

f

w.

" • )1, ./ / ,.

"'\ / f1' ,. Ir- /, i~

)' I ~ 1'" . r~ 1.' /,J ~ -. , Y.- ~> IJ " I I

kodachi . Strike the opponent's right kasumi with a shuto. The opponent falters. Immediately take the opponent's elbow joint with the left hand, and like in the outer reaping leg throw, reap the opponent up and the opponent falls on his back. Assume zanshin.

Koryaku l!Iilmt

The opponent cuts in from daijodan. Avoid by sh ifting with the right leg to the right. The opponent's sword cut flows by on the left side. Immediately take the opponent's right wrist with the left hand and at the same time take the elbow joint of the opponent's right arm with the right hand. Move both legs to the opponent's right so the

opponent falls back. Immediately rise and assume zanshin.

laifu ~~it

The opponent comes in with a right-side cut with a kiai. Leap back one step. The opponent repositions into daijodan. When the opponent moves into Daijodan, immediately jump in with the form of a left-arm ukemi, strike the opponent with a right boshi to the left chest, and immediately kick in with the right foot. Retreat and assume zanshin.

Chingan ;tl/i

The opponent is posed in seigan. Assume futen no kamae. As the opponent comes with a straight thrust, sink the body and shift to the left.

The opponent's thrust flows by on the right. With the left hand strike take the opponent's right wrist and hold it. Immediately align the right hand and sink the body, circle the opponent's hand that is hold ing the sword over your head to the left, pull back the left leg, and sit. The opponent falls back. Kick with the right foot. Assume zansh in.

Fuu @.~

The opponent cuts in with the long sword from daijodan no kamae. Shift the body to the left and hold the opponent's sword in front of the tsuba, with the fingers on top holding the tsuba. Immediately strike the opponent's face with a left shuto, wh ile pulling the sword and knocking the opponent back. This is also called "shinken tori." Hold the taken sword in the left hand and cut in to the side.

City LigJats lhe Charlie Cliap in movie City Lights was made in the overlap between the light (dentou; i'{Hi\,!) of the street

same year I was born (1931). Edison, the creator of the lamps and the way a person receiving tradition (dentou;

modern electric light bulb, passed away that same year. ~*1G) lives with that light. I wonder if those street lamps

When I watch the movie City Lights , there is something were gas powered . ..

alive on that screen that makes me see a moment of

56 CHA PTER 3

The water cycle of martial arts .

Darwin would also say: "Those that evolve, survive."

Initiation: Marishiten, Hachiman Daibosatsu. Various gods. Shiin

Haramitsu , Great Light.

Yura Shinzaemon, brave retainer of the warrior Nitta Yoshisada.

A deputy official with a sword .

GYOKKO-RYU KOSSHI JUTSU 57

CH A PTER 4

Koto-ryu Koppo jutsu m~Jmt~~Ui

From Great Swordsmen to Clarifying the Way Characters Are Read

According to the martial teachings, it is essential to be able to see

the layers of depth they hold. It is there that you find the form of the

oral transmission (kuden; DuO and that is one of the nine ways

(kuden; :tL{~), and there is also the admonishing way (yuden; ffiltrfE) .

Receiving instruction from nature's power is the same as drilling

for the oil that exists in nature.

Sonshi (Chinese General Sun Tzu , 544- 496 B.C. ) said, "Unless

you know your opponent and know yourself, you will not win in a

hundred battles." Many people believe that knowledge is enough,

but knowledge without courage ultimately leads to foolishness.

Simple-minded people (tanjun; $~) end up lOSing. And in the

Prince Morinaga throwing one of his enemies. He was well known for his impatience.

70 C H APTER 4

Shuriken.

Bokuto (wooder! sword).

end, they are scattered, having failed to find death. I often use this

expression "tanjun," meaning "simple," and this word must exist as

the soul of relentless purified courage (tanjun; lJE!*,ti). The great

swordsman Miyamoto Musashi (1584-1645) was said to have won

duels against other great swordsmen, including Koizumi Ise-no

Kami (founder of Shinkage-ryu , 1508-78) , and he went on to win

more than sixty duels in total ; but having said that , they were

probably always official duels using the sword.

I would like to say here that before these people who are called

great swordsmen were born, there were weapons like guns already

in existence.

Fighting with guns and swords, the image of the great swo.rds

men against the missile weapons becomes vile (tanjun; 1JE!j\lg) , the

ability to see how easily (tanjun; .l:liMi) victory would be, and to see

their courage (tanjun ; IJE!JI!fj) is one of the fundamental ways of

living.

Drawing of men in a small vessel in the river by Hanabusa Iccho, accompanied by calligraphy and drawing by the author.

KOTO-RYU KOPPO JUTSU 71

KaPPa JUTSU ~~fiItr ~;'

Cremated bones scattered into the air, their ashes dance in the sky

and between the ocean waves. Life flows and trundles , a person's life

is never predictable. Someone who chases the future through pre

dictions is called a swift runner Cidaten; Ii!:~K;R). Gather Buddha's

ashes and worship them. Regard that scroll as the secret scroll of

Koppo jutsu. I know and have inherited the scrolls and traditions of

Gikan-ryu Koppo jutsu, Gyokushin-ryu Koppo jutsu, as well as

Seia-ryu Koppo jutsu. "Seia-ryu" means "The Frog in the Water Well

School" C *,,~mE) . "Frog" C ~! ) is pronounced "kaeru" in Japanese.

"Kaeru" is also the word for "return" C$Q)-I strive to record the

Koppo jutsu that has returned from the past.

KOTO-RYU KOPPO JUTSU KURAI DORI

It is written that, Koto-ryu, Gikan-ryu, Gyokko-ryu; from each one of these the spiri

tual posture (shisei) of kurai dori is taken, and it is a great secret.

Migi Seigan

Stand facing the opponent. Keep the

legs separated with the right hand

out straight. and the left-hand shuto

at the right shou lder. The right hand

is in a fist! ken, making the kamae.

Hidari Seigan

Stand facing the opponent. Keep the

legs separated and the hips low

ered with the left hand out straight.

The right-hand shuto is at the left

shoulder, making the kamae.

Hira Ichimonji

This kamae is standing straight up,

both hands in the form of a shuto straight out to either side, in a straight-line kamae.

Hoko no Kamae

Drop the hips and open both hands at the height of the face. This becomes the pos

ture of jumping in with both hands and both feet.

Bobi no Kamae

Standing upright with the right shuto extended out to the front and the left hand at

the hip.

72 C H A PTER 4

Three brave retainers of the warrior Kusunoki Masashige.

The five kurai dori of this image are called" goho." From these kamae, you would

move sideways like a crab. This way of moving by crossing the legs in the form of an

"x" is called "sokushin sokuho" and was used by Ninjutsu practitioners as a method

for running sideways. By practicing this walk, someone who was normally able to

walk 10 ri in a day (an old unit of measurement in Japan-1 ri is equal to about

4 km) would be able to walk 16 or 17 ri o This method makes walking along narrow

paths much easier, and at the same time allows your body to react smoothly and to

jump easily in against an enemy's attack. This requires good, hard training.

Migi seigan is the kyo kamae. The weight should be over the leh leg. Watch as the

opponent comes in, and if you are able to lightly shih the weight over to the right leg,

the opponent will continue by and not hit you.

Hidari seigan is said to become a kamae of the fist and leg and the like striking.

Hira ichimonji is showing the opponent your openings, at any time you are in position

to extend fists or fingers into the opponent's head.

In hoko no kamae the hips are dropped low and both hands open at the height of

the face. This becomes the posture for jumping in with both hands and feet.

Bobi no kamae is done calmly; the opponent can come in at any time, and you use a

non-hostile posture with only the right fist. This becomes a kamae of expressing dignity.

Plate with a picture on bufu by Takamatsu Sensei.

KO T O -RYU KO PP O J U T SU 73

FISTS

As for everyday training methods, wrap the dojo pillars with straw to the same thickness as a human body. Above that, tightly wrap it with cloth to make it solid and practice toughening up your fists, finger tips, and the ends of your feet. When striking, imagine that you are applying the strikes to the neck, side, and lower body. This practice chart is:

1. Thumb.

2. Thumb joint. Most people only think of using the end of the thumb, but the thumb joint can also be effective.

3. The five fingers. Use them just in front of the mirror.

4. Two fingers. Use the index and middle fingers and put some strength into it.

5. Use the index, middle, and ring fingers, by bending them forward 1 sun (old unit of Japanese measurement-a little more than 3 cm).

6. When using a shuto, have all five fi ngers extended. In the case of a fist, it is often taught that the thumb should be tucked inside the fingers, but it is far more effective to keep the thumb on the outside.

7. When striking to the face, aim for about 1 sun (about 3 cm) above the eyelashes.

8. With the leg you can use the shin, tips of the toes, or instep. A master can use the shin to kick in with gedan keri. The toes can be used to hit into gedan, asagasumi, sai, kaku, and yaku. The instep can be used to hit into vital points like the kyuketsu, the suigetsu, and the face. Also, when striking using the five extended fingers, making sure to spread them wide. This is called" shiten hakko no issen." When kicking against a practice dummy made of straw, use the koppotou of the tips of the toes, and according to those techniques the training

should be hard. Make sure to have proper form; it is vita l to practice properly

without rushing.

The book Bushikun (The Principles of Sushi ).

74 CHAPTER 4

Kotsuka for Ninja or Shugensha.

SHODEN GAlA f}]i~m! '.

Yokuto lfti:

The opponent comes in to get the sleeve and the chest. With the right thumb tip, thrust up into the yugasumi kinketsu. With the right shin, thrust up to the gedan. With the left palm, thrust up into the gankotsu.

Ogyaku :jIjl~

The opponent comes in far enough to get a right koshi nage. With the left thumb, roll

into the shichibatsu on the opponent's right hip. With the right fist, strike into the

opponent's butsumetsu, then knock the opponent down. At the same time as the opponent comes in to throw with a right koshi nage, by first extending your right hand out to the rear the opponent's throw becomes ineffective. Pressuring the thumb on the shichibatsu will render the opponent unable to stand for seven days, so take

great care with this form.

Koyoku :t1L:fT

The opponent comes in to strike with a right fist. Deflect with the left arm, with a right niouken strike in to the opponent's omote kimon, at the same time extend the left

arm in underneath the opponent's right armpit, then throw with left seioi nage.

Shito llt1£lJ

With both hands the opponent comes in to choke with ryomune dori (two-bust grab). At the same time, counter into the kasumi with the joint on the right thumb, pull the left'leg (back), and by twisting the body the opponent is knocked down. Use the thumb on that left hand to get the opponent's right hand in omote gyaku, locking it up.

Hosoku jjlHJE

The opponent comes in with the left hand and you strike with the right fist to the

chest. First block the fist with the left arm, strike into the koe with the right thumb, strike into the opponent's face with your head, and knock the opponent down.

Hoteki 1.&j§l!

The opponent gets the chest with the left hand. The right hand strikes in. With the left shuto, strike up into the opponent's right hoshi with hane age and with the right thumb strike into the left hand of the hoshi. Catch hold and push up on the upper part, insert the right hip, and throw.

Shato ~Jj1£lJ

The opponent is the same as before, left hand to chest, coming in to strike with the right fist. Deflect the right fist with the left hand, strike with the right thumb into the

yugasumi, and at the same time with the right shin kick up into the opponent's suzu to knock him down.


Sword and hidden sword guard.

Keto llifilJ

The opponent comes to get both sides of the chest. Strike at the same time with the niouken of the left and right hands to the opponent's omote gyaku, pull back one step with the right leg and at the same time with that opposite movement kick up

into the opponent's gorin with the instep of the right leg, then knock him down.

Sakugeki tW. The opponent just begins to move to get both sides of the chest. With the right thumb, push up into the asagasumi just below the opponent's jaw, with the instep of the

right leg kick sideways into the opponent's kaku, and knock him down.

Tangeki it.

The opponent comes in to strike with both left and

right fists. Immediately guard the hips, assume hoko no kamae, and lift both hands. This becomes kyo (also called gantsubushi no kamae). The jutsu is kicking into the opponent's solar plexus with the instep of the right

leg, knocking the opponent down.

Batsugi W:~

With the right hand the opponent gets the chest. At the same time, use the joint of the left thumb to catch

that right hand in omote gyaku. Get the gyaku to the upper left. At the same time, with the tips of the five fingers of the right hand strike into the left side of the face and knock the opponent down . .

Setto jjffilJ

The opponent gets the chest with the right hand . With a right fist strike towa rd the left into the jakkin (upper arm) and at the same time, with the left thumb strike into the butsumetsu (breastplate). The opponent fa lls over.

Shihaku ffiflj

The opponent strikes in with both fists. Draw far back with the right leg and at the sam~ time make like the right leg is going to kick into the suzu. This is the kyo; the

jutsu is striking to the rib with a right fist.

Kyogi f§~

The opponent strikes in with both fists. Take a step back with the right leg and at the same time step on the toki (area of the foot below the ankle joint). At the same time strike into the pelvis with the right fist.

Kakko t2im

The opponent strikes in with both fists. Take a step back with the right leg and at the

same time kick into the opponent's right sai with the instep of the right foot. With three fingers on the right hand, hit with an ittousantou (one punch with the power of

three), thrust all at once, and knock the opponent down.

84 CH A PTER 4

..

..

. .

Koppo j utsu Ki n ketsu.

Oaken Kirigami Oaiji n~t7.J~*$

Ura kimon IIJm-Four or five ribs directly below both breasts Ryufu iliPjj, or Dokko ~~-The windpipe

Kasumi !l or Rangiku i5L*i-The temple area Hiryuran l'fHlEI5L-The eyeball Shishi ran l!iji7-i5L-Solar plexus

Kosei m~ or Suzu n -Testicles Yugasumi :$'n-The crevice area behind the ear

Jujiro +~fig-The front of the shoulder bone Ryumon ~gr~-The crevice area of the shoulder bone Kirigasumi §n-=---The jaw area directly under the ear

Amado i'f'jp-Just below and to both sides of the chin Tenmon :;1m-Below the uko Koe jE:-The area of the hip crevice

Koshitsubo Jm~-Middle of the hip bone Unmon ~r~ or Unka ~"f-Chest bone Kimon .\l',r~-Five points above the breast Hoshi ~-The area of the middle joint on the arm

Asagasumi ~31-The Adam's apple

Daimon *r~-The inside of the shoulder joint Jakkotsu ~~~-Above and below the middle joint


Uranami ;mi,&

The opponent strikes in with both fists. Block wi th both arms, coming in kick the yaku (calf) on the opponent's right leg using kerikaeshi with the right leg. Strike all at once with both thumbs into the amado (side of the neck).

Tenchi ::Ritll

The opponent strikes in with both fists. Step back with the right leg, kick up into the suzu with the tips of the toes of the right foot, and at the same time with the five fingers of the right hand strike into the hidaritojin of the face.

Katamaki Ft~

The opponent strikes in with both fists. Block with both hands and stop the opponent coming in. With the right hand wrap the opponent's arm from outside to inside, strike into the butsumetsu with the left thumb, and knock the opponent down.

When you take the eighteen forms that are normally done to the

right and pair them with their eighteen ura forms done to the left,

they become the thirty-six methods (sanju roppo). As in previous

techniques, make sure to have proper form, and perform the waza

carefully. In this principle of koppo jutsu, letting the opponent grab

your chest is bad, but conversely, if you can take the initiative and

grab the opponent's chest, you are already winning. So, with the one

hand having taken the chest, pull strongly toward you and at the

same time push in and strike, and you can hit into either the left or

right kimono

Regarding seoi nage or koshi nage, you are also grabbing part of

the opponent to execute the technique. Thus, if you avoid being

grabbed by the opponent by spreading your hands out behind you,

it will be impossible for him to throw you . For example, lower your

hips 1 sun (an old unit of measurement in]apan-l sun is equal to

about 3 centimeters) and spread both hands out behind, rendering

it impossible for your opponent to execute a throw. The only thing

that could knock you over from this position would be sotogake or

uchigake. This is because you have allowed the opponent freedom

to move, but this shouldn't pose you any difficulties, and the oppo

nent should be relatively easy to control.

86 CHAPTER 4

.1£ it!f. .. =1" "

ukin • menbu

HEKllO GAlA ~}]m! .:~

Sokuboku ijt;j+

The opponent has a sword in daijodan no kamae and begins to cut in . You are in migi

seigan no kamae.

The opponent comes to cut to the top of the head. Turn the body to face the right,

slip by and at the same time enter in, and with the right leg kick up into the hoshi on

the opponent's arm . The opponent drops the sword. Enter in and with the five fingers

of the right hand strike into the opponent's face and knock him down.

Bokuhen :tHI8

Go down using kyo, turn once, and return . The opponent has a sword in chudan no

kamae. You are in hira ichimonji no kamae.

The opponent comes in to cut the side. Jump back to the left side using the right

leg, and then when the opponent immediately moves to daijodan for the next attack,

jump in and catch hold of the opponent's hoshi with the right hand. Kick into the

opponent's suigetsu and knock him down.

Dako nm The opponent has a sword in chudan no kamae. You are in hoko no kamae.

The opponent comes to thrust in. With the right leg, move in to the front right side

of the opponent's right leg. With the left hand, catch hold of the opponent's right

wrist and with a right fist strike strongly into the opponent's right-hand omote gyaku.

The opponent drops the sword. Turn the body to the right and sit down onto the left

leg. The opponent falls down face up.

Shuriki '¥1J

The opponent has a sword in daijodan no kamae. You are in bobi no kamae.

The opponent comes to cut in. Moving forward, turn the body to the right and

strike the opponent's nagare with a right shuto. The opponent's sword is dropped.

With the right shuto strike to both the left and right eyes of the opponent.

Sabo ~~ Life's secret hope (seibikibo)

The opponent has a sword in da ijodan no kamae. You are in hidari seigan no kamae .

. The opponent comes to cut in. In that moment turn the body to the right and with

the right fist strike in strongly from the side to the opponent's jakkin. At the same

time kick into the opponent's butsumetsu with the right leg and knock him down.

Bakko l/#: jg

The opponent has a sword in chudan no kamae. You are in bobi no kamae.

The opponent comes in to cut the right side. Turn the body to the front left, then

strike into the opponent's jin with the right fist and knock him down.

88 CH A PTER 4

~ chidome

Sekiryoku lRi1J

The opponent has a sword in daijodan no kamae. You are in hoko no kamae.

The opponent comes to cut in from daijodan. Drop the body, move forward with the right leg, and sit down onto the left leg. The right fist strikes into the opponent's suigetsu and knocks him down.

Suito 5<.fiiJ

The opponent comes in to strike with both fists. Lower the hips and catch with both hands, jump back, and slip by the attacks. The

opponent again jumps in, wrapping the left wrist and com ing in for koshi nage. Strike into the opponent's left butsumetsu with the right elbow and raise straight up with that fist to stri ke into the opponent's face.


Gohi w.m The opponent closes in.

With three fingers on the right hand, strike into the area that is a target for the three-strike combination and at the same time push down. Push in and strike in a way that resembles a cat scratching, which is why this move is also known as "catching a

mouse" (nezumitori). Turn the palm and the five fingers of the left hand to face up,

strike into the opponent's asagasumi, and knock him down. Pull back and assume zanshin.


Hetsubi iIilim

The opponent closes in. The same as before, with three fingers on the right hand, strike into the area that

is a target for the three-strike combination and at the same time push down. With the

five fingers of the right hand thrust into the opponent's migitojinto, jump back out to the right side about six feet, then assume zanshin.


Tekigaeshi !I~

The opponent closes in. With the right thumb, thrust up and into the area under the opponent's left arm

where it meets the upper part of the front left torso. With the instep of the right foot, kick into the opponent's left sai and draw back. Assume zanshin.


Koto ~fiiJ

The opponent closes in. With three fingers of the right hand, strike and push in all together to the area

that is a target for the three-strike combination and at the same time kick into the

suzu with the left leg and knock the opponent over. Assume zanshin. Hidari waza is also the same.

90 CHAPTER 4

t '~~

wakidai W' "- hoshi

~ \' ~ .. I

Kakuhi lim

The opponent grabs the chest. Right hand to asagasumi. Strike up with a fist and make the opponent fall down

as if you were executing uchimata (inner thigh throw). Assume zanshin. Hidari waza is also the same.

Kahi ~m

The opponent has a sword in chudan no kamae. You are in hira ichimonji no kamae. The opponent comes in with a thrust. Pull back to the right with a big step with

the right leg and turn the body. The opponent immediately swings the sword to cut in at the right side. Come in front of the opponent, thrust to the ground with both hands, and with the body dropped execute the same tobigaeri from the front. Kick with both

legs into the opponent's suigetsu and knock him down. With the migiwaza make sure that when you finish the kata you have returned to

the same position that you started from. Kurai dori and zanshin are vital elements of

the martial arts.

CHUDEN GAIA !:p1~~ .,'

Hida mn With a right shuto counterstri ke to the opponent's kasumi and at the same time kick the opponent's suzu with the tip of the right foot, knocking him over. Pu ll back with the right leg, then assume zanshin.


Hisaku m}ll!1

The opponent turns toward you. Strike into the opponent's left uko with the right thumb tip. At the same time scis

sor the opponent's body with both legs and squeeze. Using both hands immediately pu ll both of the opponent's heels; the opponent falls face up. Entwine the kobura on the right leg and squeeze it.


The opponent turns toward you. With the five fingers of the right hand strike in to the left side of the face and at

the same time kick into the inside foot with the right leg, pull, then assume zanshin.


Hito mfilJ

The opponent turns toward you. With the three fingers of the right hand, strike into the opponent's ura kimon, use

that reaction and with both legs kick into both the left and right butsumetsu so the opponent's hands fall to the tatami mat. Use that reaction to turn once. Return to the last position and assume zanshin.


92 CHAPTER 4

tenmon ~

l t

~: ~

~ -

Kappi t57R

The opponent closes in. With a right shuto, strike into the opponent's right uko, and with the left shuto

strike into the opponent's left uko. Leap back, then assume zanshin. Hidari waza is also the same.

The opponent closes in.

Catch hold of the underarm with four fingers of the right hand, strike into the butsumetsu with the thumb and while at the same time twisting it, strike in. At the same time kick into the opponent's right koe using the right leg and knock him down. Pull back and assume zanshin.


OKUDEN GAIA ~1~~ ~. _

Santo tJ(~

The opponent jumps in. With the right hand grab the chest, and with the left hand catch the right sleeve.

The opponent comes in to execute uchidan and throw. Counter the opponent's right

leg that is coming in for uchidan with the right fist striking down into the opponent's outer right kaku from above. With the left fist strike up from underneath into the opponent's hoshi on the right arm that has hold of the chest, draw back, and assume zanshin.


Santo flfiiJ

The opponent comes in with a shoto. You are in seigan no kamae. The opponent comes to thrust in at the chest with

the shoto in a horizontal position. In that moment, change the weight to the left leg

and drop the body. As the opponent's shoto pulls back, it flows toward the right side. Thrust with the five fingers of the right hand to the hoshi, and at the same time the left hand catches hold of the wrist that has hold of the sword. Step in with the right leg and strike with the right fist into the opponent's right hand in omote gyaku from

the inside, causing the opponent's shoto to fly off. Immediately strike in with the right thumb into the opponent's omote gyaku and hold, then pivot the body to the right.

With the opponent's right hand in gyaku the opponent turns face down. With the left leg, kick up into the opponent's left sai and knock him over with tsuki taosu. Assume zanshin.


Koto mfiiJ

The opponent comes in to swing from daijodan with a shoto.

Take one step with the left leg and jump in front of the opponent's right leg. At the same time, strike up into the opponent's right hoshi with a left fist, and

94 CHAPTER 4

butsumetsu

//1 tJ: !~

f~

TEWAZA GAlA =F~~

Omote gyaku dori ~l$:llIi ~-Put the thumb into the back of the opponent's hand. The four fingers catch hold of the opponent's palm. The wrist joint ends up in a lock (gyaku) .

Ura gyaku dori lIl$:llIi ~-Put the thumb into the back of the opponent's hand. The four fingers catch hold of the opponent's palm from where the thumb is. This becomes a lock, and the opponent falls face down.

Shuto ~7J-Hand sword.

Chinken m~-Also called soga. Suiken jj~-Place the four fingers together, and all at once thrust with all four fingers. Koken j{]~-Also called sosai shiken ~~lH~~ (meaning killing each other), using thumb. Oken j!jlf;-Make a fist, raise the middle joint of the thumb, and push.

Koken ~~-Middle three fingers fist. Ryuken 'ii'lf;-Middle two fingers folded. Gosha kudaki ~Uf;1fli9'<-Get the opponent's right hand with the shoulder, roll his right hand from above, kneel with the right leg. Muso dori l!!\~llIi-Block the opponent's fist with jumonji, then catch hold of the opponent's elbow with the right hand and pull.

The left hand catches hold of the wrist, getting the opponent's hand from the outside.

Bassoku ~.fE-When using the legs. Sekisoku JEIi.fE-When using the shins.

KOTO-RYU KOPPO J U TSU 95

immediately strike with both hands to the hachiyo (ear) using heisho uchi (hitting with the palm). Kick up into the suzu with the right sh in. Assume zanshin.


Shinsen f!Ii~

The opponent comes to grab the chest with both hands, coming for a choke. Strike with the palms of both hands to the left and right hachiyo (ear) and at the

same time strike into the opponent's jinto with the head. Assume zanshin. Hidari waza is also the same.

Konpi mm The opponent closes in on you.

Take one step with the left leg and step in front of the opponent's right leg, strike the opponent's uko with a left shuto, then jump to the right side. Assume zanshin.


Josetsu ~m

The opponent closes in. Strike down into the jujiro with the right hand. At the same time the body turns

diagonally to the right, kick with the right leg in the gorin and knock the opponent down. By using the right hand and the right leg and by turning the body to the right, this technique is keeping time with a beat of three (sanbyoshi). Assume zanshin.


Sosetsu #1\m The opponent closes in.

Catch hold of both of the opponent's sides with the left and right hands and strike into the butsumetsu using both thumbs. Keeping hold, twist the body slightly to the left, sit down onto the left leg placing it in behind the right, and throw. Keep time with sanbyoshi. Assume zanshin.


Soto #1\fiiJ

The opponent closes in. Catch ' hold of the opponent's upper collar with both hands and push the collar

down with both thumbs, then pull. and thrust into his face with your forehead. Get the opponent's koe with the right leg, execute kuruma gaeshi, turn once together

with the opponent, execute chugaeri, and choke the opponent using umanobori. Assume zanshin.


Koki m* The opponent closes in.

Strike with both the left and right hands to the opponent's happa, kick with both legs to the opponent's suigetsu, execute chugaeri, and return to the original position.

When practicing this technique many times, in the beginning place the hands on

the ground when doing chugaeri, and use that reaction.

96 C HAPTER 4

I ... , • • • . ~ .. • •

fRl shinchu

1:g rl) 1 ura kimon - .... 4

';'" omote kimon

TORIGATA NO DAIJI 1m~z*~

Gyaku kote i2!!j\-¥-Place the thumb of the left hand on the back of the right hand from above and lock (gyaku).

Ura gyaku 1Ii2!-Place the thumb of the right hand on the back of the right hand from above and lock (gyaku) .

Musha ude fEt~~-From the outside of the arm, hold the opponent's arm under your armpit and raise it.

Ude gyaku ~i2!-The crevice area on the inside of the arm's middle joint.

Gyaku ura i2!~-The crevice area on the outside of the arm's middle joint.

Ogyaku :*:i$:-The shoulder joint.

Gyaku wash i i2!X-Below the shou lder joint.

Oni kudaki *~-With both arms break the opponent's middle joint.

Ura oni kudaki ~*~-From above roll the right arm and break the opponent's middle joint using both arms. Tsuru no ashi ura llJEII-The inside of the leg's middle joint.

Tsuru no ashi omote GJE'i\r-The outside of the leg's middle joint.

Ume kudaki 11m-The ankle.

Uchikake P<illi--The area of the thigh.

fEti!l:~~f'i'$Di:rr Budo Shugyo Saho Kuden. Budo Study Etiquette Kuden

KOTO - RYU KOPPO J UTSU 97

;1

I

I

Koki Hidari waza IDW,1i=:J:Y:

With the right hand simply having struck the uko, hit and drive into the opponent's suigetsu with both legs, then execute chugaeri . Assume zanshin.

Kimon ,im The opponent closes in.

Catch hold of the opponent's underarm with the right hand, and with the thumb push into the kimono At the same time insert the hips and pull back with the left leg, and sit to throw.


Ransetsu <5L~

The opponent closes in. The same as before, catch hold of the

underarm, push into the kimon with the thumb, strike in, and at the same time flow in with the whole body between the oppo

nent's legs. The opponent turns face down. Drive stra ight up into the face with the

head and knock the opponent down.

Ransetsu Hidari waza a~1i=:J:Y:

With the hidari waza the body flows out to the right side with yokonagashi and

yokosutemi.

Ura Kimon 5w,r~

The opponent closes in. Catch the center of the chest with the

right hand and using the five fingers thrust into the gorin. This gorin is the ura kimono With the right instep, kick into the abdo

men's gorin and knock the opponent down. Hidari waza is also the same.

KAIDEN GAIA ~1~~

Goshin rgJ[,\

The opponent closes in. Turn the body to the right and jump back; don't execute any moves on the oppo

nent. Conversely, do not escape. This will make the opponent impatient. Suddenly leap in and strike into an easy target such as the amado, kirikasumi, kimon, or

butsumetsu.

98 CHAPTER 4

(ryuge)

fi J ~t ,. ~j-\'L

tokl

Ichinen (Ornote Ichinen) -Z;(~-Z;)

The opponent closes in. Stare at the opponent's eyes (gangen); in reality you are staring at the opponent's

eye lashes (matsuge), and the opponent is unable to get close. This is called ganshin ichijo fudoshin, and is a kind of mysterious skill.

As with the hakyujutsu (superhuman ability), the most important aspect of this technique is concentrating the mind and acting with the whole heart.

Eyebrows

Paradise is something that is suspended just above the eyebrows

m so close its not something that you can find

-Dagen Zenshi (Japanese Buddhist monk, 1200-53)

Katsugan 53:[1&

The opponent comes to attack in the dark of night. Lower the hips enough; it's best not to look at the opponent directly but at the movement of the air around them. Using that method, impale them with a senban. And if there are many opponents that day, throw senban at the opponents in all directions. To throw the senban, place the

right index finger on the front part and the remaining fingers beneath it, and position the wrist so that it is the same direction as the opponent. Throwing to the front very

carefully is a great secret.

Please understand senban as enlightened direction (senban; ~7J).

Kappa juts us Verse

A warrior prays Jar peace

So that he does not have to kill

For iJ the opponent attacks

He must take his life

This is the skill oj not fighting

- (signed) Venerable White Dragon

1;1( kaku

tL ~ .. ~ 1J!!:.. yaku

k~~· J:.. ~ jto~ , '(, ,


Tomoe Gozen, wife of the warrior Kiso Yoshinaka, renowned for her bravery.

Martial Artists

" c(mi~ratul.at()ry transmission" (denju ; ~~) . Express

those methods (shuho; .'H!) as interests (shuho; @!i'!) .

Reaction, reflection, response-Ralph Waldo Emerson

(1803- 82) would say that in those moments exists the

art that is to be expressed. Mountains filled with sound,

reverberating, echoing, life and life, the valley is reso

nating with sharp teeth (kiba; ~) . You can never be

careless with nature. When will the opponent attack?

Once the character for "dragon" (ryu; Ill) is written with

"robe" (koromo; 1'<), it is read as "attack" (osou; g ) . In

this nature's fight that I live, wearing a white robe I have

survived to this age to be the Venerable White Dragon. I

was born in the year of the sheep, as a Sagittarius. Dear

Emerson, I was a sheep brought up by civilization.

Because I met Takamatsu Sensei , however, I was

shown to transform into the life of a dragon living away

from civilization. Now the Venerable White Dragon is

dancing in the sky, dancing on the Earth, on center stage

for all to see, senile and able to step in all directions.

I am living the life of warrior enlightenment. And

now that I have seen my seventy-seventh birthday I call

to mind an expression from Shakespeare: "Life is but a

dream."

And even though there is another expression that

100 CH A PTE R 4

says life is fifty-five years, it has been more than fifty

five years since I became Takamatsu Sensei's disciple.

Humans are said to be equal (byodo; :>fZ~) . Misunder

standing this is a serious matter, but please be cautious

when adopting this maxim. Even though the sound of

the word "byodo" doesn't change, natural sounds when

heard in a thousand winds can be misunderstood. There

are many interpretations of what is "equal." Take, for

example, how "equality" (byodo; :>fZ~) can be misun

derstood to be "fighting troops" (byodo; ~!I!l).

It has been thirty-seven years since the passing of

Takamatsu Sensei. In the time since then, I have been

travelling with the natural flow on a lone martial artist's

journey to perfect my skills, all the while strictly obey

ing Sensei's teachings. There is currently a well-known

song entitled "A Thousand Winds" and sometimes I

sing that tune: "Do not stand at my grave and weep, I

am not there; I do not sleep. I am a thousand winds that

blow ... " I sing this song with my heart. And Takarnatsu

Sensei, martial friends who have passed away, my

beloved dogs Ago and Zoro , and my cats are laid to rest

there. My mother recited numerous Chinese poems that

she called a thousand winds.

When I hear the song "A Thousand Winds" it sounds

like a lullaby to me.

~ Itf...

sh ich i batsu

CHAPTER 5

Togakure-ryu Ninpo Taijutsu p~mt£{~1*f,Itr ·

Secrets of Ninpo Taijutsu

Ninpo Taijutsu is Shima bansho ; meaning "all

limitless things that are in the universe," or more

simply, "the universe" (banyu; l.i 'f'j) , and within

the framework of that universe we have that

which is existing and that which is not existing

(mu-u; 1!ff 'f'j) . When considering the states of

not existing (mu ; ~) and existing (u; 'f'j), know

that the concept of mu-u is not always written

with the character "mu" meaning "nothing"

(1!ff), but that it could also be written with the

characters that express the form of martial

being (mu-u ; Jt\ 'f'j ) . Expressed in this way, the

secret of the vitality of the ninja's heart becomes

ever more essentiaL

The secrets of Ninpo Taijutsu born of the

ancient martial traditions are being revealed

here , but without looking at the shadows they

cast, ~he secret principles of the original Ninpo

Taijutsu will not be grasped. That Taijutsu consists of the tech

niques of tongyo (hiding and fleeing), which comprises various

techniques: mokuton, katon, doton, kin/konton, sui ton, jinton,

kinton, juton, chuton, and gyoton , and also includes the ura and

omote forms of these techniques , along with the three levels of ten,

chi , and jin and their thirty forms.

Tenton consists of: nitton, getton, seiton, unton, muton, raiton,

denton, futon , uton, setton. Chiton consists of: mokuton, soton,

katon, enton, muton, doton, okuton, kinton, sekiton, suiton, toton.

Jinton consists of: danton, joton, roton, yoton, kiton, senton, kin

ton, juton, chuton, gyoton.

102 CHAPTER 5

" Ninyu." Calligraphy by Matsusuke Shirane.

Furthermore , there are the techniques of Henso Taijutsu from

the shichiho sanpo forms , using an array of Ninja tools. These

include kyojitsu issen , blinding powder, the element of surprise,

restraint from taking a life , chanting the kUji (nine-word prayer)

"Gakoraitosha , akumafudo" to render the enemy unable to move,

or chanting the kuji "Goshin tsuriki teki taisan shometsu" to send

the enemy fleeing . Here, I open hoth my eyes and observe spirits

finding their way home during the week of the autumnal equinox at

the River Styx-l have the eyes of a dragon. That is the reason why I

have the name Venerable White Dragon. Uttering the words "Goshin

chinkon teki reihaku eimin" (prayer for the deceased) and possess

ing the ninja's dream, I enter Nirvana!

Attacking and Defending at Will

I have inherited the traditions of, and have continued training with,

nine different schools of Budo , but the direction that they are all

going is the same. This, however, is not limited to Budo; I feel that

whatever the path in life, the destination is the same. When the dojo

is overflowing with students I tell them that, "The Qapanese) Saint

named Kobo (Kukai ; 774-835) would not choose his calligraphy

brush, and he would not choose where he painted. The wrong brush

on the battlefield is not something that is forgiven easily." By this I

was implying that it is best not to favor or become fixed on any one

thing, and unless you are able to adapt to changing situations and

be resourceful with anything at your disposal to survive, you will be

easily defeated. So I make my students train in a large group ,

whether the techniques be in Taijutsu , swords, bojutsu; indeed any

thing. I encourage them to attack at will. Please consider the hom

onym for the word "brush" (fude; ~) as "hand of abundance" (fude;

l!; =.F ) .

In the Bujinkan there is a test for promotion to fifth dan. Those

taking the test must close their eyes, and a shinai swings down at

them from behind. Those who are perceptive enough to anticipate

it, evade it. When conSidering this test, one could perhaps benefit

from looking at the painting of a beautiful woman entitled , "A

There are five elements in Ninpo Taijutsu.

104 CH A PTER 5

I

Hicho no kamae.

beauty looking over her shoulder" (Mikaeri Bijin) created by Ukiyoe

master Hishikawa Moronobu at the beginning of the Edo period

0600- 1868).

An accomplished cameraman I know who takes photographs of

horses told me that when directly aiming a camera at a horse, often

the horse will perceive the cameraman's intent to shoot and won't

act naturally. At such a time, the skilled cameraman will turn his

back to the horse and wait for the right chance to shoot his photo

graph. Trusting his instincts as to the precise moment, he whirls

around to snap a photo of the horse in its natural state. In this way,

his photos will appear spontaneous and genuine.

Fumetsu no Fusei , Shindo no Jikai , Shizen no Ninniku ,. Shizen

Choetsu, Komyo no Satori-unless you know these five essences

cannot enter into the path of enlightenment and that is written

the Tatara Hibun (ancient Japanese documents) .

as I was often told by Matsusuke Shirane Sensei, a man I have

great respect for, the expression "give and return" is the key to the

beginning of the secret transmissions (hiden; flH~ ) . There was a

time when the world was engulfed in the shadow of the cold war.

And now global warming is polarizing the Earth's climate, accentu

ating the cold and the hot. Nature is warning us that the Earth is

changing, and severe political changes are also occurring.

Ninpo Taijutsu.

T O GA KU RE-RY U N INPO TAIj UT SU 105

Taijutsu and Ninja

In this fifth chapter, when speaking about Togakure-ryu Ninpo

Taijutsu , things will be written just as they are in the densho. In par

ticular, when considering Ninpo Taijutsu , it is my belief that it has

limitlessly transcended Taijutsu .

The lessons of single Ninpo Taijutsu , changed to man (limitless)

Ninpo Taijutsu, point the way to something that has transcended.

That may be why there still remains a Shinobi no Sho (scroll)

called "Mansenshukai ; 7J JlI ~#lf' that is considered to be one of the

greatest collections of Ninjutsu techniques. It is interesting to regard

this book as a collection of limitless battles with demons , as the

characters in the title imply: 7JljlXl!\1ltI: .

I would like you to see that Banka Ninpo Taijutsu , when enlight

ened with Kihon (fundamental) Happo, can also be understood as

Banka Kihon (mysterious) Happo. And of course the same is true of

Kosshi jutsu and Koppo jutsu, of Ninpo Taijutsu and martial heart

harmony (Bushin wa) , of Ninpo Taijutsu's divine skill, and with all

things that change.

No Ninjutsu practitioner should be unskilled in Taijutsu, but

there are serious differences accord

ing to the style of Taijutsu being

practiced.

Togakure-ryu Taijutsu: StaI.1ding

in front of the opponent strike the

mat ( tetatami; =F~). With the right

hand touching the opponent's body

kick up into the opponent's chest

with both feet, then turn and stand

behind. Starting from here , the legs

kick the chin. Turn the same as before

and stand behind. Finally, swing the

hands and kick into the chest or the

chin only using kiai , then turn and

stand behind. By training more and

more with tools in both hands and

together with your kiai , you will be

able to jump higher even than the

ceiling of the dojo.

106 CHAPTER 5

A portrait of Daruma. The call igraphy reads: " Failing seven t imes but recovering eight."

T OGAKUR E-RYU N I NPO TAIJ U T SU 107

lAIJUlSU UKEMI GAlA f*~~~m! '" ~

Kaeshi dori ~L, ,~

The opponent comes in to cut down from daijodan with a sword. Immediately fal l

face down, and with that reaction kick up into the opponent's solar plexus with both legs, then return to the last position, and stand. Assume zanshin.

Ken nagare ~)f,E

The opponent comes in to cut down from daijodan with a long sword. Immediately execute the technique for falling face down, and strike into the solar plexus with the right fist. Turn to face the opposite direction using the method for falling, turn, and

stand. Assume zanshin.

Ichi no Kamae -£~

This kamae is hira no kamae with a left shuto. The right shuto is in front and at the left shoulder area, and the legs are evenly spread. That is to say, they

are positioned to keep off of the opponent. Change as the opponent strikes in.

Itto dori -mill

The opponent has a long sword in daijodan. Stand in ichi no kamae so that the righ t hand is forwa rd instead of the left. The opponent comes to cut in.

Block with the palm of the left hand, and immediately stri ke the opponent's face with the right

hand.

Yoko geri iWm

The opponent has a sword in seigan no kamae. You are in hira ichimonji no kamae. The opponent changes and comes in with a thrust. Drop your body to the left, and

with the right leg kick up to the opponent's wrist of the hand that is holding the sword. Strike into the solar plexus with the right hand.

Itto giri -7JifT

The opponent has a long sword in daijodan no kamae. You have a sword in seigan no

kamae. As the opponent cuts in, drop the body, slip by to the left, and cut up from the lower left into the opponent's right side using kirikaesu.

SHINOBI GAESHI GAlA ~iI&m! .,~:

Shige gaeshi gata i2l~~

The opponent approaches from the front while near the wall of a building. Place both hands on the wall and the left elbow on top. Use the reaction of pulling with the right

108 CHAPTER 5

hand to swing the entire body lightly onto the top of the wall and assume a prone

position.

Shige tori ~:liIl

From the prone position described above, swing the body lightly to its previous posi

tion as the opponent approaches, then kick him in the face with both feet. Turn and

leap onto the inside of the wall.

Sora tobi ~m

Jump up to a thick tree branch and use the springing motion to bounce up, with the

left hand fly up to the second branch. At the same time the feet reach the large tree,

the right hand can throw teppan (iron plate).

Yoko nagare ~;m

The opponent has a long sword to the front in da i

jodan. From behind, the spear is in chudan. Sensing

the moment of attack, just when it becomes its

most intense, throw a stone from the right hand

together with kiai, and fall over sideways to the

left.

Ushiro nagare ~;m

The opponent comes in with a long sword and a

spear from three steps to the front. Throw a sma ll

stone (or a special blinding powder made from

eggs) to the front, immediately fall down, and flow

to the rear without making a sound and escape.

HIDEN GAlA tlH~~ ;

Chugaeri .p~

When the opponent comes from behind, without making a noise execute ch ugaeri to the front. When beginning the technique, the hand could make contact, but chugaeri

is far better when done without touching.

Yokogaeri ~~

The same as before, changed to the side.

Tobichigai mJ:l Execute chugaeri, and with shuko jump up into a large tree.

Itto nage -7J~

At the moment of facing certa in death, throw the sword from the left side straight at

the opponent in front to allow escape.

TOGAKURE-RYU NINPO TAIJUTSU 109

Teppan nage ~~t9:

Senban throwing. This is done by resting nine teppan in the left hand. Take one at a time with the ri ght hand, and from the left side throw to the front using yoko nage. Line up the right wrist with the opponent in front, and th row with the feeling of throwing from the wrist. When first learn ing, it is a good idea to practice using business cards.

The rhythm is the same as with itto nage.

Kirikaeshi t)]JJg

When both you and the enemy are positioning to attack with a sword, make sure to assume chu seigan kamae. harmonize with the kiai that the opponent cuts in with , roll the wrists over that are thrust out, and cut the side with kirikaeshi. Th is is a secret sword technique.

Sutemi ~~

Against many enemies, as an alternative to sacrificing bodies (written here as "sutemi" but implying death either for you or all of them), use ichimonji to give the impression of intent to thrust straight at the leader. Rather than attempting to fight all of the opponents, however, it is better to escape and save life, so in fact cut at the weakest person of the surrounding group to break through and get away.

110 CHAPTER 5

Kanite (crab finger).

Hitting the stone with shitoken.

loyal retainers. And there are said to be 48 chromosomes

in women and 47 in men.

T OGA KU RE-RYU N I N P O TAIJ UT SU III

Taijutsu on ice.

112 CHAPT ER 5

Kimata .

Sensing technique. Locking the neck.

TOGAKURE-RYU NINPO TAIjUTSU 113

CHAPTER 6

Life Taijutsu

Allowing the flesh to be cut through to your

opponent's bone, and allowing the bone to be

cut is severing life. But even in death on the

battlefield one can attain reincarnation and

devote one's life again to one's country. Within

Taijutsu , when you are being thrown by the

opponent there is the technique of sutemi

(sacrifice technique), which can be used to

defeat the opponent with atemi ( ~~; the art

of striking an opponent's vital points . This

should be written with alternative characters

to express gracefulness and decorum; ~ '*).

Beyond every waza is the urawaza. This is the

henka waza ; it should also be called the infi

nite life Taijutsu that cannot be seen, and has

transcended the world of Budo, which is also

an encounter with Budo Taijutsu (here "Tai

jutsu': is written with the characters for "mys

terious reality"; ~y~). If you can reach the point

of the practitioner who can see this world, then

you have almost succeeded.

Now is the time of radio waves (denpa; ~

lBt), or namely, dissemination of information

and culture (denpa; ~:fI) , and I'm transmit

ting things that cannot be understood to stu

dents using this very kind of radio wave. This

is a very important point. As in the transmis

sion of the secrets of an art, as a pair of practioners journey together,

they must strive to tune into each other's transmissions, each other's

114 CHA PTER 6

Single-minded perseverance. (Calligraphy by Takamatsu Sensei)

The mysterious technique of the cat . (Picture by Takamatsu Sensei)

Vital parts of Yoshin-ryu.

wavelengths. If you are able to pick up these wavelengths, then this

becomes in harmony with the tradition of polishing the heart .

Takamatsu Sensei often said, "The heart of the Budoka is impor

tant." I still hold that determination dear to my heart even to the

present days of my teaching, for the purpose of maintaining the

wavelength, passing through the student-teacher relationship and

people of the future. The reverberations of my ideas, the dispersion

of the pure martial heart has spread far and wide, as far as the pure

star of Tasmania.

In Europe a study is being conducted for doctors who work with

psychiatric patients by the European Academic Society for Doctors.

When a mentally ill patient becomes violent, it is essential for the

doctors to be able to respond quickly and effectively to the situa

tion. Budo can offer valuable lessons in this . For example, if the

doctors were to learn Budo Taijutsu , they would be mentally pre

pared and respond accordingly to any sudden and unforeseen act of

violence by the patients. It is also starting to be recognized that

Budo Taijutsu can be extremely useful for prison guards as well.

"Koteki Ryoda" inscribed on a stone monument.

TAKAGIYOSHIN-RYU JUTAIjUTSU 115

Koteki Ryoda JuPpo Sessho no Jutsu m.tm~--t1ifJTfiO)f,ftr

Every year, for the last several years, I have used a different theme in

my teaching of students. In the year of Takagi Yoshin-ryu , I was

teaching perception according to the insight of the Tiger and

Dragon. This one legend of the Tiger and the Dragon is called

"Sessho" (negotiation; tJT~), and it teaches the mental preparation

of facing an enemy empty-handed, yet rendering the enemy power

less. This JuPpo Sessho no Jutsu (which can also be written with the

characters for "taking life") is connected to the secrets of Kodachi ,

Jutte , and Tessen no Jutsu. Juji Ryoku, or the power of the right

angle or cross, is like trapping a bee in the palm of your hand and

rendering the bee's stinger useless.

"When you become entangled, there can be no victory. By sacri

fiCing yourself you have the chance to be saved. " Heed this old

poem, and strive to train to the best of your abilities. As it is said,

the sennin (mythical people who secluded themselves in the moun

tains and acquired the art of never-ending life) ate mist to survive,

the warrior with an understanding of mist can also obtain life.

Therefore, within the essence of Budo the principle of the mist

(kasumi no ho; RO)¥* ) is regarded as the very mindset of that

essence.

Book about the Dragon and the Tiger of jujutsu.

11 6 CHAPTER 6

Book telling the story of Shibukawa Bangoro, the founder of Sh ibukawa-ryu jujutsu.

Where are miracles? There are miracles in the traces of the oni

(demons). As written in Hagakure, "Bushido is to find death ," the

answer to this method of change of existence can be found in the method

of change of life and death. The great twentieth-century writer Jorge

Luis Borges, would have said the same.

Scroll of Bokuden-ryu . This school is famous for sword fighting techniques and Taijutsu.

Scroll of Shinto-ryu .

TAKAGIYOSHI N -RY U J UTAIJUTSU 117

OMOTE GATA ~m! ~.,;

Kasumi dori liOO

This kata is suwari gata. Sit in seiza facing the opponent who is standing on the toes. The opponent stands with the right leg and comes in with the right hand, grabbing the lapel. Take the lapel with the left hand under the opponent's grabbing hand, and

with a right shuto strike the opponent's kasumi, standing on the right leg. With the striking hand take the right lapel.

Attack the back of the opponent's hand with the thumb, controlling the lapel with the fingers, and stand up, pulling back the left leg. Pull back the right leg in a large

motion and sit, with the leh leg kicking into the opponent's chest and holding.

Do gaeshi jjPJ~

Th is kata is also suwari gata. The opponent strikes in with a right hand to the sui

getsu. With the right hand parry to the right, taking the wrist, and with the left hand take the opponent's left lapel and extend the left leg to the side, pulling the opponent onto his back. With the left leg take the opponent's right arm and lever around, choking with the

leh hand.

Karame dori moo This kata is standing. The opponent comes straight in. Grab the nape of the opponent's neck from behind. As the opponent turns to look behind, with the right leg kick the back of the opponent's knee and knock him down.

Assume zanshin.

Kyoto ctfIfiiJ

In this kata the tori is seated. The opponent advances forward and kicks into the tori's suigetsu. With the right arm, from the right leg change the body angle diagonally. With the right hand hold the opponent's calf and with the left hand hold and pull the opponent's ankle to knock him over. The opponent falls face fi rst. With the right hand strike the

calf of the opponent. Assume zanshin .

Kata mune dori JtJlijOO

This kata is a standing waza. The opponent grabs the single lower lapel. As in the previous suwari gata, with the leh hand grab the lapel.

With the right shuto strike the opponent's kasumi, then drive the right thumb into the back of the opponent's grabbing right hand that takes the lapel. While holding the palm of the hand with the fingers, pull the left leg back, at the same time pulling

the lapel free, and with the leh leg kick up into the opponent's right thigh, knocking him face down. With the leh hand holding the joint of the right arm, push down, then lih up the wrist of the right arm, pressuring in with a lock.

124 C HAPTER 6

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Scroll of Kito-ryu .

Document of Kito-ryu.

Ryo mune dori jl!jjll$l!Il

This is a stand ing waza. The opponent grabs both lapels. The ura kata to this is kata

mune dori and is the same. Instead of striking to the kasumi with the right hand, strike straight to the face, then take the opponent down the same way as in the previ

ous technique.

Oikake dori ~ttfl!ll

The opponent moves forward . From behind apply a kiai . As the opponent turns

around, strike the opponent's right kasumi with the right hand, then enter in under

trapping the opponent's right arm joint. With the right leg, trap the opponent's right

leg and with a large movement knock him down face up. Apply a gyaku jime (reverse

choke) to the opponent's right arm and hold down. Break the arm.

Kaigo kudaki JtQfrt~

Standing waza. The opponent comes from behind with wagai jime. Drop down, spread

the attacker's arms open, and grab the opponent's right wrist with the right hand.

Sitting back on the right leg, throw with seoi nage.

TA KA GI YO SHI N -RYU J U TAIJ U T SU 125

Yukichigai fIll

Standing waza. The opponent advances forward toward you. Advance as well and pass (yukichigai). When passing the right side, take the opponent's right wrist with

the right hand and lift up, striking up into the opponent's tsubo in the underarm with the left elbow. When bringing the arm back to the original position, use the right heel to lift the right heel of the opponent and knock him down facing up. While still holding the wrist jump in, hitting the opponent's right underarm with the right foot.

Yuigyaku 1liEi:2?:

Standing waza. The opponent walks toward you. Walk in at the same time. The oppo

nent attemps to strike the left side of the face with a right strike. Block with the left hand. With a right strike, hit the face of the opponent. While applying uchikake to the opponent's right leg, the opponent falls facing up. Control both hip joints.

Ransho jS[,~

Standing waza. The opponent comes in with a right strike to the face. Take a step back with the right leg, dropping the koshi, and block with the left arm. Striking in with the right hand to the opponent's asakasumi (area below the jaw), with the right foot as in

kosoto gake, knock the opponent on his back as he comes in to trap the right leg.

Ken nagare ~;m

Standing waza . Face off with the opponent. The opponent comes in with a right

handed strike to the suigetsu. Slightly shift to the left and receive the opponent's right hand with your right hand. Hold the wrist and step slightly in with the left foot. Suddenly pull the right leg and right hand, sitting back on the right leg. The opponent will fall forward. With the left hand take the opponent's right elbow and then kick into the opponent's right side with the left foot.

Hiza guruma ~* The opponent is seated. Kick in to the seated opponent. The opponent blocks with the right hand. Take the opponent's right wrist and, moving to the opponent's right side,

lift the arm up, pushing down and locking.

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126 CHAPTER 6

Scroll of Sekiguchi-ryu.

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The ura gata is in the moonbeams of juppo sessho. The moonlight reaches every inch of the world, but it is because the watcher's

heart is clear that he can fee l its beauty. There is also the time of no moon. This is the Bufu of Kyojitsu. This is the martial way interchanging truth and

falsehood.

Suigetsu *F.l This is the same as the omote waza. As you stand, kick in to the suigetsu with the right leg.

Gyaku ude ~~

This is the same as the omote using the left hand, taking a reverse on the opponent's right arm, and knocking the opponent on his back. Moving in with the right leg, kick

the opponent's right side.

Ude ori ~j:fT

This the same as the omote. Using the shin of the left leg on the right arm of the opponent, hold and break the arm.

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TA KAG IYOS HI N -RYU J UTA IJ U T SU 127

ERI JIME GAIA ~~ml :;

Hon jime *~ Standing waza. Face off with the opponent. Start by taking the opponent's lower left lapel with left hand. At the same time take the opponent's upper right lapel with the

right hand and press the thumb in deep into the lapel. At the same time pull with the left hand and drive the right arm up to the neck and choke. The opponent keeps the neck facing forwa rd and endures the choke until almost losing consciousness. The person applying the choke should also be diligent and carefully study the method of choking.

Gyaku jime e~

This is a standing waza and is the same as the previous one. With the left hand take

the opponent's lower left lapel, and with the right hand in and thumb out, use the fingers to push on the opponent's throat, in the area near the pharynx. Pulling the left hand makes this gyaku jime an extremely difficult technique to resist.

Udejime ~~

This is a standing waza. The opponent takes the single lapel with the right hand. Take

the opponent's right wrist with the left hand and at the sa me time take the oppo

nent's right arm from underneath, then take the upper left lapel . With the right leg hooking the outside of the opponent's right leg, fall back. With the left hand that is holding the opponent's right wrist, hold down sufficiently toward the head. The pain is as intense as if the arm were breaking.

Itteki jime -Jii:j~

This is a standing waza . Face off with the opponent. With the right hand take the

opponent's upper left lapel then pull back. As the opponent attempts to resist, in the

opposite direction shift the opponent to the right side and with the left hand grip the front of the opponent's left shoulder. Pulling with both hands backward, execute a collar lock. Keep the head in close to the opponent's back.

Itami jime ~~

This is a standing waza. With the right hand take the opponent's left lapel as high up as possitile with the thumb in. Do the same with the left hand. With both hands, using

the thumb joints push and choke in the area of the lymph glands.

Oshijime jIj3~

Standing waza. Same as the previous technique, with both hands taking the opponent's upper lapels, both thumbs choke by applying pressure to the ryumon (the "hollow" area of the shoulder under the collar bone).

Gyaku osae jime ejlj3~

Same as the previous technique. With the thumbs of both hands apply pressure on the upper uko-the area directly under the upper portion of the lymph glands.

128 CHAPTER 6

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Scroll of kenjutsu of the Takamatsu clan .

Suwari jime *~ The opponent sits. From the front suddenly grab the front of the opponent's left

shoulder and pu ll. Leaping in from the right, move around the opponent and apply

sankaku jime.

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TAK AGIYOSHI N -RYU J U TA Ij U TS U 129

SABAKI GAIA tsu~ .:,

Kata mune dori }tH(ii]l!Ii

Standing waza. Face the opponent. The opponent takes the lapel with the right hand. Cover the opponent's right hand with the left. As soon as the opponent goes for the right sleeve with the left hand, pull the right foot back one step and take the opponent's right hand with the left in a reverse. At the same time pull the left leg back and

sit back. The opponent will fall back, creating an arm lock.

Ryo mune dori foIiiH(ii]l!Ii

Standing waza. The opponent grabs the chest with both hands. Lightly place both hands on the opponent's hands. While shouting a kiai, pressure the shin on the opponent's gedan and at the same time take the opponent's left hand in a lock. As in the previous technique, throw.

Oni kudaki *~ Face off with the opponent. The opponent moves in with a right strike to the face. Pull the right leg back one step, dropping the hip, and receive with a left arm block, passing the right arm under and just behind the elbow of the opponent's right arm. Hold with the left hand and apply the lock, stepping in osoto gari (large outer reap) with the right leg and

knocking the opponent down.

Seoi gakari ~~~

Same as the previous technique, but instead of the osoto, step in with the hip and execute seoi nage.

Koshi nage gakari ~~~

The opponent takes the single lapel with the left hand and moves in with a right strike. First, take the elbow of the opponent's left grabbing arm and push it up and pull the right leg back. Receive the opponent's right strike with the left hand. At the same time drop the body slightly, enter with the right hip, and throw. Since the oppo

nent's left arm is pushed upward we are able to come in from the neck. The opponent's arm is reversed and locked and is then thrown.

Ude ori ~j:fT

The opponent takes the single lapel with the right hand. As before, lightly rest the palm of the right hand on the opponent's hand, then quickly strike the opponent with a left shuto to the opponent's left kasumi. At the same time, with the right hand take a reverse (lock) on the opponent's right hand. Step back and down with the right leg.

The opponent will fal l forward. Break the opponent's arm with the shin of the left leg.

Gyakute nage )$:~~

The opponent grabs the single lapel with the right hand. Take a lock with the left hand, raising it up. The opponent's right-hand wrist becomes takeori (curved). The right hand takes the root of the opponent's right arm. Enter in with the right hip and throw.

130 CHAPTER 6

Calligraphy by Kaichiro Samura, tenth dan of Kodokan Judo. It reads: "Maximum efficiency with minimum efforts, and mutual benefit and welfare."

Kimon nage 5im:t9:

The opponent takes both lapels. Grab both of the opponent's sides. With the thumb apply pressure to the pressure point in the underarm. Push then pull, allowing for the

right arm to enter in and then at the same time throw with a koshi nage.

Ate nage ~:t9:

The opponent takes the single lapel with the left hand. With the right hand reversed

and in a similar position to gyakute nage, execute takeori at the time of passing under the opponent's left arm. With the left hand grab the opponent's underarm, pull, then

knock over the opponent, who will land facing up. When grabbing the opponent's left underarm, apply pressure to the opponent's underarm with the elbow.

Kocho dori IJ \ ~:I!Il

The opponent takes the single lapel with the left hand. With the right hand take the elbow of the opponent's grabbing hand,

and use both hands on the elbow, turning to the left one degree, then take that hand to the shoulder and throw.

Kum iuchi by Watanabe and Honjo at the Tonoyama Castle.

Two methods to don armor quickly.

TAKAG IYOS HI N - RYU J UTAIJ UT SU 131

TAl NO KATA f*z~ ~

Koshi guruma 111* Standing waza. The opponent grabs the left front of the obi and the rear of the right

back waist of the obi and attempts a hip throw. With the left hand grab the opponent's rear obi and with the right hand strike the opponent's face. Advance in and sutemi to the side of the opponent, pushing the right hand up on the opponent's left shin. The opponent falls forward.

Yotsude gg'y~

Standing waza. Both sides grab the right shoulder. With the left hand take the front of the obi. When the opponent pulls in, on the third step fo llow the opponent and enter in with the left leg. Step in with uchimata with the right leg, catch the opponent's left

thigh, and execute tomoe nage.

Yotsude kuzushi gg'y~jj)j

Standing technique. The opponent comes in with a double lapel grab. With the left hand take the opponent's front obi and with the right hand take the opponent's left shoulder. Enter in with the right leg, and while pushing pass through between the

opponent's legs with the left leg then with the right, apply a tomoe nage to the opponent's left leg.

Keito ffUMi

The opponent grabs the hair from behind. Take the opponent's left grabbing hand, drop the hips, and pull back the left leg to finish up facing behind. Assume a kamae that will strike with the right hand. The opponent retreats three steps. Suddenly jump

in to the opponent's left side with the right foot and hit the opponent in the face with a right strike, then throw him with a yoko tomoe nage.

Koshi ore IIItJT

Standing waza. The opponent enters in with a koshi nage. Hit into the opponent's suigetsu with a right strike. Suddenly with the right hand take the opponent's left shou l

der and with the left hand take the opponent's rear obi. With the left foot pass through from the front to the left. At the same time, with the right leg catch the opponent's left leg and with the right hand pull the hand that is holding the shoulder. Perform yoko tomoe nage. The opponent will fall to the side, facing up.

Koshi nagare IIIJm

The opponent comes in for a double lapel grab. Grab the opponent's shoulders with

both hands, and quickly enter in with the left leg past both legs. The opponent is thrown with tomoe nage and falls facing up.

Kumoi gaeshi ~*,,)Jg

Standing waza. The opponent comes in for a double lapel grab. Grab the opponent's left lapel with the left hand, and with the right hand take the right lapel and pull the left. Tsuki with the right hand, apply a cross lapel choke, and place the right hand on

the opponent's left thigh and perform tomoe nage.

132 CHAPTER 6

Ryote gake filil=flli

Standing waza. The opponent executes a double lapel grab. Grab both the opponent's arms at the middle joint (hoshi) with both thumbs. Slightly push and then with the

right foot catch the opponent's left leg and perform tomoe nage.

Mizu nagare 7.l<ffiE

Standing waza. The opponent executes a double lapel grab. Take both the opponent's shoulders and quickly pass the left leg through between the opponent's legs. At the same time move the right leg around the opponent's left side and then pull on both

shoulders. Perform tome gaeshi.

Yuki yanagi ~D~

Standing waza. The opponent grabs both lapels. With the right hand deeply grab the opponent's left shoulder and with the left hand grab the root of the opponent's right arm. With

the left leg hook the opponent's right thigh and with the right leg pass through between both the opponent's legs and throw with a

yoko tomoe nagashi nage.

Echigo kuzushi ~f~)j',Ej

Standing waza. The opponent grabs both lapels. Take both the opponent's elbow joints and push up. While pulling, strike with the front

of the head to the opponent's face, then quickly enter in with both legs between the opponent's

legs and perform tomoe nage.

Kasasagi ~

Standing waza. The opponent comes from the side with a koshi nage. With the right hand grab the opponent's left shoulder and with the left hand grab the front of the

opponent's obi. With both legs enter in to the opponent's left side and throw. The opponent falls in yoko nagare. Stay connected to the opponent and finish up on top of him, then choke with the lapel.

Hyotsui ~~

Standing waza. The opponent grabs both lapels. Grab both of the opponent's shoulders and with the right leg hook the opponent's left thigh and perform tomoe nage. Rollover, finish up on top of the opponent, and execute a collar lock.

Tsuta garami Jl;m~

Standing waza. The opponent grabs both lapels. Grab the opponent's sides, then push.

At the same time flow around with both legs to the opponent's right side and throw him to the side. Finish on top of the opponent, sit astride him, and execute a collar

lock.

134 CHAPTER 6

Kabuto with the fami ly crest of two hawk's feathers.

Taki otoshi ~;\f;

Standing waza. The opponent grabs both lapels. Grab both lapels, enter in with both

legs between the opponent's legs, and throw. Follow on top of the opponent, sit astride him, and choke with both lapels.

Anything and everythingfor the purpose of attainment of just technique

night and day.

MUIO-DORI GAIA (MUIO-DORI JUJIRON) ~JJtifi~ (~+tifi+*~) "~"'r

Kenja dori ~:j!fJm

From hira ichimonji no ka mae. The opponent is in daijodan no kamae and comes in

with a single cut. Shih the body to the leh, lihing the right leg slightly, The opponent's

cut flows past the right side, With the left hand take the opponent's right wrist and

with a right strike push the back of the opponent's right hand. Next, strike the oppo

nent, then make a further strike to the upper arm to disable the sword. Suddenly, with

the right hand place the thumb on the back of the opponent's right hand, execute a

reverse lock, and pull the left foot back far enough so the opponent will fallon his

back, Take the fallen sword, Assume zanshin,

Ichimonji -:>c~

Start in hira ichimonji no kamae, The opponent is in daijodan no

kamae and cuts in. Advance forward with the right leg one step

just in front of the opponent sitting with the left leg, striking to

the opponent's suigetsu with the right hand, The opponent falls

on his back, Retreat one step, Assume zanshin,

Tsuka otoshi ~~

Stand in seigan no kamae with the right hand forward and left

hand in the area of the lapel. The opponent is in daijodan no

kamae preparing to cut. Suddenly jump in and hold the opponent's

elbows with both hands, stopping and pushing. The right leg

moves forward one step in fronrof the opponent's right leg,

Suddenly with the right hand grip the back of the opponent's

sword handle, lift up and enter in with the hip and throw, The

opponent's sword remains in your hand and the opponent falls back, Assume zanshin,

Scroll of Takenouchi Issh in-ryu .

136 CHAPTER 6

I Calligraphy by Kyozo Mifune, tenth dan of Kodokan Judo, It reads: "Mercy."

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Muko dori rP:iim

Seigan no kamae. The opponent cuts from daijodan no kamae. Evade to the left side, and with the left hand take the opponent's sword and grab his right wrist. Suddenly take the handle of the opponent's sword with the right hand from above, and while pulling up at the same time with a left strike, hit the face of the opponent. The opponent should fall back, but if he fails to do so his crotch will be cut with the sword. Hold the opponent's sword and assume zanshin.

Mawashi dori }!g)im

Drop the hips. Keep the left hand in front and pull the left hand back to the left side in gedan no kamae. The opponent cuts in from daijodan no kamae. Sh ift the body to the left and with the palm of the right hand strike into the opponent's right ulna. At the same time kick up to the opponent's left wrist with the right leg. Next, wh ile pushing the opponent's lower throat simultaneously sweep the opponent's leg with a large

outer reap with the right leg . The opponent will fall back. Pick up the sword and assume zanshin.

Ushiro dori f~im

Hira ichimonji no kamae. The opponent comes in with a thrust. Shift the body to the

left. With the right leg kick up to the opponent's right hand, suddenly jump behind the opponent, and execute ryosode hachiyo with both palms, striking the opponent's ears. The opponent loses the wi ll to fight and falls. Assume zanshin.

Shizumi dori ;tim

Lower the hips to gedan no kamae. The opponent comes from a thrust and changes to a cut to the torso. From the right side move directly in toward the opponent, and

wi th the right leg switch the body. With the left hand take the opponent's left wrist, lift up, and at the same time enter in wi th another step. Drive the right hand in between the opponent's legs and th row in omote nage.

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TAKAGIYOSHIN-RYU J UTAIjUTSU 137

Tsuka kudaki ffl~

Stand facing the opponent. The opponent is bearing a large sword with his hand on the hilt. With the right hand stop the pommel and with the left hand make a shuto (hand-sword) down to the opponent's right hand.

Hiki dori slM

Stand facing off the opponent. The opponent attempts to draw the large sword. With both hands strike both the opponent's sleeves, then suddenly draw the large sword

with the right hand and kamae in tsuki.

Iri dori AM

The opponent assumes daijodan kamae with the large sword. Stand in hira ichimonji.

At the time when the opponent cuts in, advance forward toward the opponent with the right foot, sit back on the left foot, and with the right hand strike the suigetsu and draw the opponent's kodachi, then thrust.

Scroll of Jujutsu .

Scroll of Takenouchi Isshin-ryu.

138 CHAPTER 6

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Rangaku jliL&;

The opponent is bearing a large sword and a short sword and advancing forward.

Grab the pommel of the opponent's large sword and grip the wrist of the opponent's

left arm with the right hand. The opponent places the right hand on the handle of the large sword and begins to draw. Suddenly lift the right hand and take the entire scabbard before the blade is drawn. Sweep the opponent's left leg with the scabbard then lock down the opponent's left hand with the sword.

Sukui dori ~jffl

The opponent attempts to draw the large sword. Suddenly kick the opponent's kote

(wrist) with the right leg, knocking the large sword away. Without allowing the opponent time to absorb the attack, continue to advance on the opponent. Take the handle of the short sword with the left hand and strike the opponent's santo with the right hand. Draw the short sword with the left hand and thrust.

Masubone ~~

The opponent attempts to cut in with the large sword. Pull the left leg back one step, shifting the body. The sword passes by on the right side. With the left hand take the right kote and with the right hand strike the opponent's face, then take the sword and

cast it away.

Ushio gaeshi ~)}g

This is the same as the previous technique; at the same time as shifting the body strike the opponent's right ulna with a right shuto. The opponent will drop the sword. Jump in and apply osoto and with right hand strike the jinchu and knock him over.

Kake otoshi lli~

The opponent is in daijodan no kamae. Jump in holding the opponent's elbows, pre

venting the attack. The opponent takes a step back. Maintain the distance, and with

the shin of the right leg kick up into the opponent's gedan. Take the end of the opponent's saya with the right hand and drive it upward . The opponent will hit his own head on the sword and fall back.

TAK AG IYOSHI N -RYU JUTAIjUTSU 139

Kote dome IJ4.1.1::

The opponent attempts to cut in with the large sword. Evade by opening up to the

left and moving backward. The sword will flow past the right side. With the left hand

take the opponent's right hand into a lock and turn the body. Keep the right hand

attached, sit back on the left leg, and throw.

Yoko gatana m7J The opponent puts a hand on the large sword. With the right hand hold the pommel

of the large sword down and back. The opponent takes a step back. Maintain contact

and with the right elbow strike into the opponent's suigetsu, draw the opponent's

large sword with the left hand, and swing it to the side.

Kuruma nage *~ As in the previous technique, strike to the opponent's suigetsu with the elbow, place

the right hand on the opponent's left hip, and when the opponent falls over apply

yoko Kuruma gaeshi. Because the left hand is gripping the handle of the opponent's

large sword, the sword ends up in your hands. Quickly turn and cut in to the oppo

nent. Assume zanshin.

Yotsude gatana !1.!3'Y=J=7J

The opponent places a hand on the large sword. With the right hand hold the handle

of the large sword, with the left hand take the handle of the small sword.

Simultaneously, with the right leg stamp on the opponent's inside foot. The opponent

will be taken by surprise and pull back. Suddenly with the left hand draw the short

sword and thrust.

Yaiba musubi ]]*5

The opponent places a hand on the large sword. Grip the hilt (tsuka) of the oppo

nent's short sword with the right hand. Push on the large sword 's tsuba. The oppo

nent retreats back one step. Follow the opponent and draw the kodachi in yoko

ichimonji.

Sukashi dori ~tm

The opponent cuts in from daijodan no kamae.

Open the body up to the left. The opponent

cuts aga in from yoko ichimonji, then leaps

back. Suddenly change, leap in with a right

strike to the opponent's suigetsu, then per

form koshi nage.

There are fifteen secret transmissions of

the sukashi dori.

140 CHAPTER 6

Pages f rom a popular book on martial arts.

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Ume haki WII±

Move in for a hon jime. The opponent has the right hand on the chest, while the left hand tries to escape by pushing the left wrist hand of the hon jime. Shift the body and beg in executing seoi nage. Suddenly change, with the right hand on the top of the opponent's right hand. With the right leg trap the opponent's right leg and knock him

over. The opponent will fall facing up, then quickly hold the opponent down with a

choke.

Kuruma gaeshi :!j[~

The opponents moves in to apply hongyaku jime. Place both hands under the opponent's arms and apply pressure to the tsubo, then switch to a throw. ·Place the right

leg on the opponent's left thigh.

Ten gaeshi 7i:~

The opponent throws in seio nage. From behind grab the left side of the opponent's obi with the left hand and with the right hand grab the front of the opponent's obi. At precisely the time the seoi is initiated, jump inward into the opponent's space. The opponent will fall back facing upward. At the same time grab the front of the oppo

nent's obi and drive in a strike.

Nagare dori ;moo The opponent takes the single lapel with the right hand. Grip that wrist with the left hand and hook the arm with the right hand, then fall over. Use the right arm as temakura (a rest for the head) and the opponent's arm will break.

The remaining twelve techniques are kuden (secret transmissions) and are being listed under the gokui. There are forty-one kuden in total.

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~ ~ ;1f...., ..$.... "" i~ ..f..... ;$.... ~ *- it--

Scroll of the Mano family about wearing armor.

TAKAGIYOSHIN-RYU JUTAIJUTSU 141

~ I~

MOGURI GAIA M~ :

Gokuraku otoshi +>:u~~

The opponent takes the single lapel with the right hand and the right sleeve with the left hand . With the right hand take the outside sleeve just above the opponent's left elbow and pull the right leg back one step. At the same time pull the right hand to the side and quickly pull the left leg back, then execute a reverse hold-down with

both hands on the opponent's left hand. Change and throw in seoi nage from the left hand.

Jigoku dori !t!!.~Jm

Same as the previous technique. Push

inward to the opponent's left hand and then quickly change. With the left foot take the opponent's left leg in osoto kake and the opponent falls back.

lama kudaki JiM'

The opponent takes both lapels and comes

in with hon jime. With both hands apply a grip to the opponent's underarms. With the thumbs apply pressure to the tsubo (pressure point) in the left underarm. The pain will cause the opponent to slip out diagonally to the left. Quickly enter in with the right arm and throw.

Hicho dori 7!t~Jm

The opponent comes in wi th a strike to the left side of the face. Drop the body and block with the right arm. With the same arm sweep the opponent's right wrist at the same time and pull to the left. The opponent applies strength and shakes himself away. Suddenly jump in, drop the body, and throw with the single hand.

Onibuse *{1(:

The opp·onent takes the single lapel with the right hand and sleeve with the left hand. Lightly rest the left hand on the opponent's right hand which is grabbing the lapel.

With the left thumb suddenly push on the opponent's little finger. The opponent will experience intense pain and will attempt to pull the hand back. With the right hand push the opponent's chin back and perform osoto kake.

Inazuma dori ~1l~Jm

Both opponents take the lapels with the right hands and sleeves with the left. With the right hand wrap the left hand of the opponent from underneath and suddenly

execute gyaku shime with the right hand. Twist the body to the left, sit back on the left leg, and throw. Be carefu l not to pull the opponent's right hand with force.

142 CHAPTER 6

Scroll of Yagyu Shinkage-ryu .

M izutori *,~

Both opponents take the lapels with the right hands and sleeves with the leh. With

the right hand from above the opponent's left hand, bind and execute ude gyaku

jime. With the left thumb, choke the opponent's shofu and twist the body. Pull the

right leg back significantly, sit and throw, then hold down.

Kuru yuki *~ Both opponents take the lapels with the right hands and sleeves with the left. Grip

the opponent's right hand firmly with the left. The body should be slightly at an angle

with the left arm fully extended below the opponent's right arm, wrapping round his

back. Quickly enter with the right leg between the opponent's legs and execute a hip

throw.

Tai otoshi i*)1i:

Both opponents take the left lower sleeves as before. Thrust with the right hand, then

execute uchimata with the right leg. At the same time change and put the left hand in

the same position as the previous technique. The opponent wraps the right hand and

enters in with the left leg. Enter the hip and begin to throw, sit back on the right leg,

drop the body, then throw.

Moguri dori jMlm

Both opponents take the left sleeves and stand at a distance. As in the previous tech

nique, in the end when sitting back on the right leg, with the right hand grabbing the

right shoulder, pull down to completely hold the opponent down.

Moguri nage jMj9:

As in the Plevious technique, bind the right hand and enter in . At the same time, with

the right hand grab the tsubo of the opponent's right underarm. Drop the body

enough to perform seoi nage, and throw by sitting back on the left leg.

Kotehi RyodaJupposessho no HibunJujiron ShidenJuhai

era of Oda Nobunaga (1534-82) , the victor of the battle

of Okehazama Gune 1560), there were no machines like

notes, or some who lived in an era where they weren't that, but even if there were I wonder if he would have

easily able to write notes. The annals of BudD are filled needed them. Of far greater importance than radar or

with the bloodstains of those who never left a trace. computers in this age is the excellence that is made in

Budo Taijutsu is made in humans. Radar or comput- humans.

ers are things that have been created by humans. In the

TAKAG IYO SHI N -RYU JUTA IJ UTS U 143

CHAPTER 7

Shinden Fudo-ryu Daken Taijutsu 1-$ ~/FmJJmt rT ~f*f,Itr

Shin den Fudo-ryu Shizen Shigoku no Ichi

Recently, at the time of training, I am soliloquizing

throughout Heaven and Earth; that is to say, I am cel

ebrating the gracious relationships I enjoy with my

students. I cherish each student as I would my own

grandchild (mago ; 1*) , and as I do the noble people

who care for horses (mago; ,Ii!f,~ ). The fo llowing is a

traditional poem that my teacher told me: "Even an

insect can travel a long distance if it is holding onto

the tail of a horse. " But this makes no sense; "A

horse's tail is made for driving insects away. As

expected , an insect cannot grab onto a horse's tail.

You must carefully observe the daily life of a horse. "

With this in mind, I keep a horse, and have "traveled

a long distance" in this realization. In order to keep a

single horse , 3 ,000 tsubo (l tsubo = 3.3 m2) of land

is required. What is an insect to do once it has been

shaken off? Considering this , I recall the Ninja prov

erb .of the lion who threw his young offspring into a

deep valley. Faced with such dire circumstances, only

the very strongest would survive, and the lion would

welcome with open arms and raise only those cubs

who could use the shin obi ladder to climb up from

the abyss. The lion has a connection to this idea of

Shinobu inochi (enduring life; i2J.:ifff) or Shinobu inochi (Ninja war

rior life; i2Jitifff). Everything in nature has to compete to live , and

this form of survival is taught in the form of the life of nature. If you

remove the radical from the kanji character of shi in "shishi" (lion;

~iH) , the form of a "master" (shi ; ~i!i) will appear. Through this we

can understand the relationship of master and student (shitei ; r.i!i~).

144 CHAPTER 7

Compassion Is Benevolence

Mother Teresa was a woman of remarkable compassion who rescued

many people. She once said: "I always value the aspect of one on

one." This aspect of one on one is the same as in the transmission of

a secret art from master to student, as in the form of instruction in

Budo. As a student of Takamatsu Sensei, I was taught in this one

on-one way. I feel this way very deeply. I feel that I was treated with

the benevolence of a single child, and it was with deep love that I

received this training from a master. There is a Budo saying: "Show

your outer weakness, but maintain your inner strength. " These

words can mean mental readiness , but I want you to consider that

here "weakness" (jaku; §§ ) can also exist in the serene world Of sabi.

I reminisce about my teacher

Takamatsu Sensei, who in later

life was outwardly frail but bore

an inner strength of such power

that the images of him training

with me appear like tremendous

bolts of lightning. I realize that he

truly has a place among the

mighty samurai of times past.

As long as I live I will never

forget that short phone call I

received from Takamatsu Sensei's

wife: "Yesterday your teacher gave

it his best, but he passed away. "

On the day of the funeral I recall

the sorrow with which one of the

attendees, a person whom I did

not know, lamented, "Ah, Mr.

Takamatsu passed away! " The sil

houette of that person's face is still a clear image etched in my mind.

That moment for me was as if time stood still , and though many

years have passed, it is still a fresh memory. I remember the benevo

lence of my teacher. And now I think that the first character making

up the word "benevolence" (ji; ~) is written as ji; i!m, meaning

"thou. " Benevolence (jishin; ~JL') expresses confidence (jishin;

131§ ), and my teacher's benevolence was jishin (thou body; i!m!l) and

the form of sutemi (self-sacrifice). The day-by-day relationship

between student and teacher is a last will ; it is a summary; it is

namely the training of ichigo, ichie , and the teachings of the

ba ttlefield.

SHI N DE N F U DO-RYU DAKE TAIJ UTsU 147

The Practice of Shin den Fudo-ryu

Nature changes and is therefore beautiful. But as with the human

heart, this change also has the potential to be dreadful. We must

therefore know the substance of the change. In order to know this

we must harmonize our mind and body techniques (shingitai). We

must enhance our mind and body techniques by harnessing the five

disciplines. When I teach students, the attitude I adopt is not to

teach the latest trend or fad, but rather to notice in hindsight that it

is the aspect of change that can never die out. This is the very action

ofBudo , it is known to all its practitioners as a kind of premonition;

it is ever-evolving training. This training itself is the ever-changing

transmission, and though it be called

guidance (sendatsu; 9G~), it can also

be seen through the homonym for a

flash of inspiration (sendatsu; ~~) .

This attitude toward evolution (shin

pen; if§~) soon itself evolves into

shinden (represented the characters

for "god" and "initiation"; f!P~) , and

you become aware that it is a life

experience. And this is connected to

the kamae of telepathy between stu

dent and teacher and the initiation

into the way of Shinden Fudo-ryu; it

is manifestly and joyfully connected

to ikken hasso, biken isshun, and

shizen jikoku.

Shin den Fudo-ryu no Kamae

When you think of the form of kamae, for me rather than thinking

simply of the form itself, I think of the kamae of appearance and a

kamae of a personality that is deep with experience. This is impor

tant, I think. Kamae must be sophisticated and elegant, a sublime

performance worthy of the highest stage, like a recital of the Tale of

the Heine performed with aJapanese lute (biwa) . This is just like the

graceful actress Elizabeth Taylor, who would look beautiful no mat

ter what angle she was filmed from. And this was accomplished

wholly by herself alone-it is the beauty kamae of the actress. In the

process of the practice of Shinden Fudo-ryu there is nothing said

about the form of the kamae. Let's just express it as kamae- "the

moment before change."

148 CH A PTER 7

Sudden Change Will Always Prevail

As recorded in the densho of the Shinden Fudo-ryu , in the secret

writings of Tatara Kishin it is stated: "Hyohen-shite kanarazu katsu"

(sudden change will always prevail). That being so , we may con

sider the proverb, ''The superior man changes like a leopard," mean

ing "to admit one's mistakes and move on." The sword is in the arm

and the arm is determined to win, and the determination is law, and

the law is the power of training. After you achieve power through

training, you can accomplish the jintsu mystical powers of Heaven

and Earth. In order to gain the proper cultivation of jintsu for the

first time, one must repeat one technique a thousand times. Forget

the sword, forget strength, forget the

mind. Mindlessness is jintsu. Leave

fate to God. Change is natural; thus

to gain proper cultivation of jintsu

one must gain selflessness. This is the

beginning of the gokui (the essence

of the martial arts) of writings of the

mysterious sudden change, and we

must understand this . I wonder, did

the leopard exist injapan back then?

In what way did they change? To

have the sensitivity to be endowed

with the ability of presence of mind,

to search for the principles of natural

morals and warrior ethics-this takes

guts rather than technique. Such

teachings are passed from teacher to student through ishin denshin

(divine transmission). During my young days Takamatsu Sensei

once laughed and said, "I have had a few students, but no one quite

with the guts that you have, my dear Hatsumi." And I can still see

that image even now when I close my eyes.

unfortunate that he died before such a chance from

injuries he suffered after falling from a horse. But some-

tional bronze sculpture capturing the past, present, and how he left the teaching of his distinctive style of arts to

future with a momentary presence coming from it. It is the follOwing generation.

SHI N DE N FUDO-RYU OAKEN TAIJUTSU 149

Bukuden-ryu jujutsu.

TEN NO KATA (IKKEN HASSO) ;RZ~(-~j\m) :-;

1. Nichigeki 8. The opponent is holding the left cuff with the left hand and the right hand is on the chest. You are the same. The opponent sudd~nly advances with seoi. The right hand is extended to the rear and the hip region comes in. This would become a throw if nothing is done. Keeping the five fingers of the right hand half open, strike the face of the

opponent, and drop the hips. The right leg moves around to the opponent's right side and effectively throws. Kick in to the opponent's right side with the right foot. Assume

zanshin .

• Ura gata Ichi Jl:ll:i-

As in the previous technique, strike the opponent's face with the five fingers at the same time, and simultaneously take the opponent's lapel with the left hand. Take the back of th~ opponent's right hand. Pull the body to the left. The opponent's right hand becomes a gyaku. With the right hand hit and pull the opponent's underarm. Assume

zanshin.

• Ura gata Ni J1ll:i=

Same as the above technique. In the end, without striking into the opponent's underarm, pull the left leg back and sit. The opponent falls on his back. With the right foot kick into the opponent's right side. Assume zanshin.

2. Gekkan ,Ej)ff

The opponent approaches and with the right hand strikes in. Block with the left hand and take the wrist. With the right hand grab the opponent's right shoulder and pull.

154 CHAPTER 7

At the same time, kick into the suigetsu with the right foot. Pull the kicking leg back and sit. The opponent will fall forward face down, and the opponent's right leg will twist and break. Assume zansh in.

• Ura gata Ichi .~-Same as the previous technique. Take the opponent's right wrist with the left hand and with the right hand take the back of the opponent's right arm . Place the right foot behind the opponent's right foot and take the opponent down on the back and break the arm.

• Ura gata Ni 5~= Same as the previous technique. With the left hand take the opponent's right wrist. Strike the suigetsu with the right hand. With the right hand take the opponent's right arm from below and perform seoi nage. Assume zanshin.

3. Fubi @.m The opponent applies a double lapel choke. Quickly place both hands on the opponent's shoulders and wrap both legs around the opponent's do. With a right fist, strike

the opponent's face and lower both hands to the opponent's ankles and pull, knocking the opponent down. Roll back and stand. Assume zanshin.

• Ura gata Ichi Jl:~-

The same as the previous technique. Wrap the legs around the opponent's torso. Strike the opponent's face with the right hand, then return it to the body. Assume zanshin.

• Ura gata Ni I(~-

The same as the previous technique. Wrap the legs around the opponent's do. With both hands grab the chest and pull and strike with the head to the opponent's face.

Lower the hands to the ankles and pull, knocking the opponent down. Roll over once and stand. Assume zanshin.

SHI N OE N F U OO-RYU O A KE N TAIJ U TSU 155

4. Uryu ffi~~

The opponent comes from behind to hold (bear hug). Place the right thumb on the

right hand of the opponent's finger joint. The fingers behind grab the opponent's back of the hand, and when the koshi is lowered and the right hand is raised, the opponent's hand becomes a lock. Slip to the right side and sit back with the left foot and throw. Assume zanshin .

• Ura gata Ichi .~-

The same as the previous technique. Use the left hand, slip to the left, and throw with a left katate nage. Assume zanshin.

• Ura gata Ni .~= Same as the previous technique. Slip to the right and with the left elbow strike the opponent's right side and throw with seoi nage. Assume zanshin.

5. Unjaku ~1!€

The opponent comes from the front and strikes with a right strike to the face. Drop the hips and with both hands touch the ground in front of the opponent. Suddenly with the left hand strike up into the opponent's jaw and at the same time grab the

opponent's left side and drop the body. Enter in well with the hip and execute ganseki otoshi. Assume zanshin.

• Ura gata Ichi .~-Same as the previous technique, hidari waza .

• Ura gata Ni .~= Same as the previous technique. With the right hand take the opponent's left side

from below, wrap the right arm from behind, take a lock on the left arm, and execute ganseki otoshi. Assume zanshin.

156 CH APTER 7

- I .;:::.

6. Setsuyaku ~m

The opponent comes from the front with a right strike to the face. Receive with the left hand and take the wrist. This becomes a right gyaku on the opponent's right arm

and the right side from the top to the bottom. Slightly put power into the gyaku to inflict the pain of a break and then suddenly place the right hand on the opponent's right shoulder, enter in with the hip, and throw in seoi nage. From the opponent's. upper right side hold down with the right foot and drive in. Assume zanshin.

• Ura gata Ichi 1Il!:i-

Hidari waza. Left seoi nage. Assume zanshin.

• Ura gata Ni Ill!:i=

Same as the previous technique. With the right hand take the opponent's right arm by coming from the top and wrapping the right leg as in osoto gake. Assume zanshin.

7. Musan §m The opponent comes from the front with a right strike to the suigetsu. Slightly shift

the body to the right and take the opponent's right wrist with the left hand, then sud

denly strike the opponent's face with a right-handed strike. Pass under the opponent's right arm; the arm becomes a gyaku. Strike the upper arm with a right hand and

break the arm. Assume zanshin.

• Ura gata Ichi Ill!:i-

Just as the previous technique but hidari waza. Assume zanshin.

• Ura gata Ni Ill!:i=

As in the previous technique, pass under the opponent's arm with the right leg, kick into the opponent's right lower side, and from there sit back on the right leg. The right

hand takes the opponent's right shoulder and the opponent falls back. Assume

zanshin.

SHI N OE N FUOO-RYU O AKE N TAIJUTSU 157

8. Karai il~

The opponent comes in to grab the single lapel with the right hand. Take the right grabbing wrist with the left hand. With the right hand strike the opponent's chest

while pulling back the left leg. Take the opponent's shoulder with the right hand, pull back the right leg, and sit. The opponent falls on his back. With the right shin hold the opponent's right arm joint and with the left hand hold the opponent's wrist, lift the arm, and break it. Assume zanshin.

• Ura gata Ichi Illrl-

Same as the previous technique, hidari waza. Assume zanshin

• Ura gata Ni Illrl=

Same as the previous technique, migi waza. Bend the arm, hold, and apply sankaku jime from behind the opponent.

CHI NO KAlA (HI KEN ISSHUN) -i~z~ (f.~~-~)

1. Riken ~~

Sit facing the opponent. The opponent is sitting in seiza and on the toes. Sit with the left leg crossed on top of the right leg. The opponent's right hand takes the lapel. With the right hand take the opponent's right wrist and while pulling, kick the left leg into the right of the opponent's chest. Fall with him onto his back. With the left arm push

in the opponent's right upper arm, bend down, and break the opponent's arm. Assume zanshin .

• Ura gata Ichi Il~-

Same as the previous technique. Right left crossing on top, hidari waza . Assume zanshin.

158 CHAPTER 7

• Ura gata Ni .~= Same as the previous technique. With the right foot kick into the opponent and return the foot. Assume zanshin.

2. Shinken 1[,,*

Same as the previous techn ique. Sit facing the opponent. The opponent stands on the right foot and with the right hand takes the single lapel. Sit with the left leg on the bottom and the right leg on top. Take the opponent's lapel. Strike the opponent's right upper arm with a right shuto and kick up under the opponent's jaw at the same time. Roll back one rotation and stand . Assume zanshin.

• Ura gata Ichi .~-Same as the previous technique. The legs are opposite for a left waza. Assume zanshin.

• Ura gata Ni .~= Same as the previous technique. Allow the opponent to grip the lapel firmly and kick

up into the opponent's right arm with the right leg that is on top. Roll back one rotation and stand. Assume zanshin.

3. Raiken ~* As in the previous technique, sit with the left leg under, right leg on top. The opponent is standing and comes forward . With the right leg the opponent comes to kick in .

With the left arm, execute uke nagashi to the left, at the same time kick up into the opponent's gedan (lower part of the body) and knock him down. Assume zanshin.

• Ura gata Ichi .~-As in the previous technique. Change to left leg on top, hidari waza. Assume zanshin.

• Ura gata Ni .~= As in the previous technique, sit with the left leg under, right leg on top. Without kicking into the gedan, kick into the opponent's right with the right leg . Assume zanshin.

SHI N DE N FUDO-RYU DAKE N TA IJ UTSU 159

4. Henkyo ~~

r u ,L u

Same as the previous technique. Sit facing the opponent. The opponent stands on the right foot and with the left hand takes the single lapel. The opponent comes thrusting in with a kodachi in the right hand. Gently take the wrist of the opponent's hand that

is grabbing the lapel. When the opponent thrusts in with the kodachi, kick into the opponent's kinketsu (vital part) wi th the right foot and at the same time drive the thumb of the right hand into the back of the opponent's grabbing left hand. Take the gyakyu to the right and the opponent falls back. Kick into the opponent's left side with the right foot and pull the leg back. Assume zanshin.

• Ura gata !chi lIlri-

Seated as in the previous technique. The form is switching left and right. Hidari waza.

• Ura gata Ni lIlri=

As in the previous technique, kick in with the right foot, but to the opponent's jaw

rather than the kinketsu.

S.lssen -I)!j

Just as in the p~evious technique, left leg under, right leg on top. The opponent stands and comes in with a right kick. We receive with the left arm and parry to the left. The opponent comes with a kodachi, cutting in for the head. With the right hand receive and take the wrist and with the right foot sweep the opponent's leg and knock him

down. The opponent falls on his back. Hold down and take control of the opponent's hand holding the kodachi, gyaku, and thrust into the opponent's chest.

• Ura gata Ichi lIlri

Hidari waza.

• Ura gata Ni lIlri=

Change the right foot sweep to a gedan kick.

160 CHAPTER 7

6.Akuken ~~

Seated as in the previous technique. The opponent comes cutting in from the front with the daito from daijodan. Fall back facing up and kick up into the opponent's

hands holding the daito. Rotate once back and stand. Assume zanshin.

• Ura gata Ichi llIHl:i

Hidari waza .

• Ura gata Ni 1I!I!i=

Same as the previous technique. Without kicking up into the opponent's hands, kick

to the gedan.

7. Kenkon ~±$

Seated as in the previous technique. The opponent cuts from the rear with the daito. Feeling the opponent's attack, anticipate the moment the sword reaches the left side and pivot to the right, avoiding the blow. The opponent's sword flows past on the right side. Take the wr ist and trap the right arm with the body facing to the left and

stand up with the right leg. The opponent's arm becomes a gyaku and he falls on his face. With the left hand take a gyaku teken, pull back one step, and perform giri. Assume zanshin.

• Ura gata Ichi W!I!i-

Same as the previous technique on the left side.

• Ura gata Ni W!I!i=

Same as the previous technique. Take the opponent's sword and kamae.

8. Suiryu ~wp

Seated as in the previous technique. The opponent comes with a thrust to the chest from the front. Place the right hand on the right side and shift the body, then ta ke the opponent's wrist with the left hand. With the right hand trap the opponent's arm coming from underneath. With the right foot kick into the opponent's suigetsu and

SHI N DE N FUDO-RYU DAKEN TAIJUTsU 16 1

the opponent fa lls back. Break the opponent's arm with a gyaku and take the sword. Assume zanshin.

• Ura gata Ichi I!:l!:i

Hidari waza.

• Ura gata Ni I!:l!:i= As in the previous technique, take the opponent's wrist and with the right foot kick into the opponent's suigetsu. Assume zanshin .

1. Tai nagashi i*;m~

The opponent takes the single lapel with the right hand. With the left hand take the

opponent's right wrist, place the weight on the right leg, and place the left foot lightly in front of the opponent's left foot. The opponent attempts to strike the face with a left strike. Block with the right hand, then with the right hand take the opponent's left arm by the armpit and pull strongly with the right hand. The opponent falls over past the side.

• Ura gata Ichi I!:l!:i

Hidari waza .

• Ura gata Ni I!:l!:i= As in the previous technique, the opponent rolls over. Strike into the opponent's left

side. Assume zanshin.

2. Kobushi nagashi *;m The opponent has the right hand on the left chest and comes for a yokomen strike. Remain in shizentai. Perform ukenashi on the opponent's approaching right strike and at the same time take the opponent's single lapel with that hand. Take the wrist of

162 CHAPTER 7

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that hand with the left hand, placing the thumb on top. At the same time the right hand wraps the opponent's left arm from the left side inward . While dropping the body, enter in with the hips for a throw. The opponent res ists the throw. Pull the right hand and hold the opponent's upper left arm, pull the left leg back, and sit. The opponent's left arm becomes a gyaku and fa lls back. Holding the opponent down, kick into

the opponent's left side with the right foot and return to position. Assume zanshin.

• Ura gata Ichi 1llll1-

As in the previous technique, enter in with the hips and complete the throw.

• Ura gata Ni Rlll1=

As in the previous technique, hold down the opponent's left arm. With the right foot execute tsune age to the opponent's left leg and knock him down. Assume zanshin.

3. Fubatsu :r::f.&:

The opponent takes the lapel with the left hand. Take the opponent's left shou lder deeply. The opponent comes in with a right strike to the yokomen. Perform uke nagashi with the left hand, and kick into the opponent's suigetsu with the right foot. Next immediately pull that kicking leg back and sit. At the same time pull the left

hand that is holding the opponent's left shoulder down. The opponent rolls over once and lands on his back.

• Ura gata !chi Rlll1-

Same as the previous techn ique. Without kicking into the opponent's suigetsu, turn the body to the left, sit forward, and throw.

• Ura gata Ni Rlll1= Same as the previous technique. Turn the body to the left, with the left elbow hit the opponent's chest, and sit and throw.

4. Ryote gake jjIij-'FttHt

The opponent moves in to apply a double-arm choke to the neck. With the right hand

SHI N OE N F U OO - RYU OA KE N TAIj UTSU 163

L 'f liJ i

• .:e:..,'>

t~ ft';. ..t:''} 11)1

coming from below, lift up on the opponent's left elbow. Lift the left hand up on the opponent's right elbow and then pull the left leg back so the opponent bends back. Immediately while lifting up firmly on the opponent's left elbow with the right hand, drop the right hip and enter in a throw.

• Ura gata Ichi 1Il.!:i-

Same as in the previous technique. The opponent applies a double-arm choke. Enter in with the right leg into the opponent's gedan and throw.

• Ura gata Ni 1Il.!:i=

Same as in the previous technique. The opponent applies the choke. Strike both the opponent's ears with open palms and thrust down. Assume zanshin.

5. Kasasagi ~

The opponent comes in to apply hon jime. Take both elbows with both hands, drop the body, and perform tomogaeshi sutemi nage .

• Ura gata Ichi !ll.!:i-

Same as the previous technique. The opponent comes in with hon jime. Take both

elbows with both hands and sutemi to the opponent's left side.

164 CHAPTER 7

• Ura gata Ni lll!:i=

Same as the previous technique. Sutemi to the opponent's right side.

6. Suzu otoshi ~~L,

The opponent takes the sing le lapel with the left hand. Ta ke the opponent's sleeve just above the opponent's left elbow with the right hand and with the left hand hold the opponent's left arm. Keep the right hand poised and light. The opponent comes in with a right strike to the eyes. Drop the hips and perform left uke nagashi, and place the left hand over the upper part of the opponent's right arm. Pull the left leg back and sit, creating a left arm gyaku, breaking the arm.

• Ura gata Ichi . l!:i-

Same as the previous technique. When the opponent comes in wi th tbe right strike, kick up into the opponent's gedan with the right foot and break the arm with an arm

gyaku.

• Ura gata Ni . l!:i=

Same as the previous technique. Before placing the left hand on the opponent's right upper arm, strike the opponent's face with the left hand. Immediately break the arm.

7. Kasumi otoshi ft~ L,

The opponent comes in with a left-handed sing le lapel grab. Place the thumb on the back of the opponent's grabbing hand. Hold in a way that allows grabbing with the fingers at any time. The opponent comes with a right stri ke to the eyes. Perform a lefthand uke nagashi, th en turn the body to the left, throwing the opponent from the

point of the thumb on the opponent's left hand . The opponent's wrist becomes a gyaku and falls back. Kick into the opponent's side with the right foot. Assume zanshin .

• Ura gata !chi ~l!:i-

Same as the previous technique. Perform uke nagashi against the opponent's right strike, and strike to the opponent's left yokomen with a left shuto.

• Ura gata Ni .l!:i=

Same as the previous technique, hidari waza. The opponent attacks with the right hand and is thrown to the left.

8. Roto 5aliiJ

The opponent comes with a single lapel grab with the left hand and a right-handed strike. Place the thumb on the back of the opponent's grabbing hand and perform uke nagashi to the opponent's left striking arm wi th the right arm . Strike the opponent's right side with a left strike and take ura gyaku on the opponent's right hand with the

right hand . Pull back the right leg and sit. The opponent falls face first. Kick into the opponent's right side with the left foot.

• Ura gata Ichi lll!:i-

As in the previous techn ique, only this time striking the opponent's face with a left strike.

S H IN DE N FU DO -RY U DAKE N TAIJUTS U 165

• Ura gata Ni 1Il!!i=

Same as the previous technique, but without using the left strike. Instead kick up into the opponent's gedan with the right foot and hold down.

9. Fudo 1'i1J

The opponent comes in for a single lapel grab with the left hand. Lightly take the palm of the opponent's grabbing hand from underneath. The opponent comes in with a right strike. Perform left uke nagashi and then strongly grab the palm of the opponent's left grabbing hand with the right hand and lift up. The opponent's wrist becomes takeori, and turning to the left side, with the left hand grabbing the opponent's left shoulder, pull the right leg back and sit. The opponent falls back. Break the

arm. Assume zanshin.

• Ura gata Ichi 1Il!!i-

Same as the previous technique. At the same time as grabbing the shoulder with the left hand, kick the thigh of the opponent's left leg with the right foot, pu ll back, and knock down.


Same as the previous technique. The opponent's left wrist becomes takeori and the

right leg kicks up into the gedan and tsukiotosh i.

10. Ugari ~)l.1J

The opponent comes in, grabs the single lapel with the right hand, and takes the sleeve with the left hand. Grab the opponent's left underarm, and the opponent performs osoto gake. Go with the throw so both legs go to the opponent's right side. Make sure to pu ll firmly on the opponent's left arm. Pull down the opponent, sit

astride him, and execute hon jime.

• Ura gata 1Il!!i

As in the previous technique, when the osoto gake is applied grab the opponent's right side with the left hand and hit with the thumb. The rest is the same.

11. Fukan 1'~

The opponent comes and grabs the lapel with the right hand and the sleeve wi th the

left. Remain with both hands natural at the side. The opponent comes in with seoi nage. Strike to the opponent's face with a right strike, grab the opponent's obi in the rear, and pull strongly. Next, move with the opponent's seoi nage, then perform sutemi in front of the opponent's feet, and throw. The opponent rotates once and

lands facing up.

• Ura gata )chi 1Il!!i-

Same as the previous technique. Replace the right face strike with a right body side strike.


Same as the previous technique. With a right strike strongly hit the opponent's right

upper arm joint and break the joint.

166 CHAPTER 7

12. Shizen § ?'!.\

The opponent comes in with a double chest grab. Remain in shizentai. When the

opponent pu lls, strongly strike the opponent's head with the head and knock him

down as in osoto with the right hand on his jaw.

• Ura gata Ichi 1I:l!:i-

As in the previous technique, the opponent grabs then pushes. Grab the opponent's

hands and kick up into the gedan with the right foot, then perform sutemi.

• Ura gata Ni 1I:l!:i=

Using the opponent's pushing force against him, right strike to the suigetsu and then

hook the legs and remain in shizentai.

CHAPTER 8

Kukishin-ryu Daken Taijutsu fL*f$mtrT~f*f,f\f

Mysteries of Kukishin-ryu

Kukishin-ryu's techniques were born from the knowledge of nine

warrior gods and consist of nine sets of martial skills: body-striking

skills (Daken Taijutsu), sword, spear, naginata , archery, six-foot

stick, pikestaff, senban throwing, and military strategy. These are

called divine techniques (kamiwaza), and they can be expressed as

examples of divine flow: the martial way of the total warrior.

Takamatsu Sensei would often say to me that, "Both Toda Sensei

and lshitani Sensei told me that there are rules for when passing

things on to disciples. One of these rules is that it is no good to hand

down written transmissions (densho). This is because the depth of

the truth of the martial way is infinite, though anyone reading some

thing written in the densho or other things that are written about

Budo is simply studying written words (hisshi; ~~), lifeless words

(hisshi; ~JE) . That is to say, they are stuck in the verse of a poem,

and they have likely forgotten the meanings of determination and

desperation (hisshi; !JZ,JE) and haven't mastered BuJu. The martial

way is about not giving up, and therein lies the secret. The way of

war is survival. Pursuing the martial way demands the composure

of a warrior's heart. Even with mind, body, and skill as one (shin-gi

tai-icchi), unless you simultaneously have the courage of self-sacri

fice (sutemi) , you will come to failure. Even in everyday life, the

composure of a martial artist's heart is vital. Things that are written

are composed after the event-these are not so important, they are a

past matter. The importance lies in the present, in the immediacy of

the warrior's heart ... "

Takamatsu Sensei often said that between training sessions with

his uncle, Toda Sensei, he was made to copy out Toda Sensei's den

shoo This story is about when he received the densho from lshitani

Sensei. One night lshitani Sensei came calling at Takamatsu Sensei's

168 CHAPTER 8

Calligraphy by the author. It reads "Kuki Taisho" (Nine demons laughing loudly).

place, and said, "You've trained well. Here are the densho that I've

written out. There is nothing left to teach you."

"No Sensei, there is still much ... ," came the reply. That type of

pleasant exchange went on for several days, when suddenly Ishitani

Sensei fell , and lying on Takamatsu Sensei's knee he uttered his last

gasp, "Un !" and just like that he was taken from this world.

This is a form of the transmission (densho) of the connection

between the first and last breaths of our lives in this world (repre

sented with the syllables a-un).

Kukishin-ryu and Bufu Ikkan

It is the same in any era the world over: usually

when countries are in disorder and disarray they

yearn for a sage, a philosopher and thinker who

can guide them through their collective malaise.

Most people agree , however, that a man of the

caliber of a sage very rarely appears. But by per

severing with the martial way, providence sum

mons the clouds and they are able to discover

their sage. Taking an example from a dialogue in

Buddhism, from Kukai's Hizo Hoyahu, the monk

Genkan uttered these wise words:

"Even when there are no good doctors, medi

cine should not be abandoned. The same is true

in the world of art and of martial arts-you don't

just abandon them, and within the world of

Buddhism I would like to say this same thing to

anyone who thinks that there are no distin

guished monks. Even when the world around

them falls on hard times, great people do not get

caugh~ up in the flow of the current of the times,

they must exist entirely outside of that. "

Wisdom of a Demon

According to the different eras through which it evolved, the litera

ture of Kukishin-ryu still retains many of its kamiyo moji characters

and Chinese characters , and these have scholarly value. Among

researchers of ancient texts and manuscripts , Takamatsu Sensei was

said to be the most knowledgeable regarding ancient documents.

That wealth of knowledge was handed down to me by Takamatsu

Sensei.

170 CHAPTER 8

People are afraid of the demon's ga te (kimon ; *r~) , but that

kimon is really the life gate (kimon; ~r~). It is not an evil place;

things are created there , it's a place where children are created. I

think that the face of a female demon is the face of a woman in

ecstasy. The demon's gate (kimon; *r~) can also be read as the mira

cle gate (kimon; ~r~). But a miracle (kiseki; ~l@ji) can be undone by

the demon who sits at the gates of hell (kiseki; *~). The French

painter Henri de Toulouse-Lautrec (1864-1901 ) once said, "Art is

not something that is simple, it is something

that is larger than life. " I conceive of the martial

arts as a dance, like in one of Lautrec's paint

ings, and am reminded of the Budo story of the

butterfly that dances with the giant demon.

Young children are told by people that , "a

person who understands play has life's great

est treasure. " In Kukishin-ryu this "play" is

taught as the children's game of tag (demon

play). A person who understands martial arts

has life's greatest treasure. In the nineteenth

year of Heisei (2007) , the Bujinkan is training

with this as the number one principle.

Also in Ninpo there are techniques of play

ful performance, and in the secret principles

these represent a good, manly disposition. We

have come to an age where the essence of the

playful heart , of having composure, and of

where the warrior knows the value of har

mony h ave come to be . And perhaps this

would be a good point to talk about how Budo

is not meant for competitions. I would like

you to recognize that the way a martial artist

composes their heart and the way of Japanese

chivalry are connected to the health and hap

piness of the body and spirit. Takamatsu

Sensei would often talk about the expressions

"martial ethics and recognition" and "a mar

tial artist's heart," and I have recently come to

realize deeply that this is the highest level of

verbal transmission (kuden ; D{~ ) . The

immovable heart (fudoshin ; /f'lll}J{,') and the

wealth of a child's mind (fudoshin; m-itIL')

mean that even a three-year-old child can be

cultivating peace.

KU KISHI -RYU DAKE N TAIJ UTSU 171

Using shuban (iron plate).

/

/ Using jutte.

/

KUKISHIN-RYU HAPPO BIKEN NO JlJiliSU 11}l~mtj\~~"!~Ji2.fiIlj :~

Hira no kamae SjZz~

Both hands naturally on hips. Eyes directed toward the opponent's eyes, drawing them in.

Hira ichimonji no kamae SjZ-:>c~.z~

Both hands spread out to either side, in a straight line.

Seigan w!® The body is turned to the right. Sideways, right hand on hip. Position the left hand in a shuto and direct it toward the opponent.

Katate hicho no kamae ft~m,~z~

Right-hand shuto. Thrust out toward the opponent, body turned to the left, draw the left leg in, lower the hips, left hand at chest.

Kosei no kamae !)(:~.z~

Left-hand shuto above the face, right fist at chest. Lower the hips. Pull the right leg back (behind).

These five positions are called Daken ~aijutsu goho no kamae.

SHODEN GAIA f}]1~m! ~

Kion ~m

The opponent's right hand to chest, left hand to sleeve.

1. In the same position, left hand under the sleeve and the right hand holding the opponent's right collar.

2. All at once, pull with the left hand and thrust in with the

right hand, choking with the collar (kata eri jime).

3. Place the right leg enough to the right side of the opponent's right leg, then kick into the opponent's outer kaku. Immediately pull the left leg back enough, kneel and drop him.


Uyoku ,~~

The same technique as before; break the right leg and throw with seoi nage. Hidari waza-Do the technique to the left and throw with left seoi nage.

192 C HA PTER 8

Scroll of Akiyama Yoshin-ryu.

Yume otoshi ~m

The opponent comes in with a left and right fist.

1. Block the left fist with the right hand . Block the right fist with the left hand and catch hold of the sleeve.

2. Push with the right hand into the opponent's yugasumi.

3. At the same time execute osoto gake and drop him.


Suiyoku *_ The opponent strikes with a right fist, left fist, right leg.

1. Block the opponent's right fist with the arm, block the left fist with the right hand, and catch hold of that sleeve . .

2. As the opponent kicks in with the right leg, deflect it out to the left with the left hand, at the same time push into the opponent's right kiri kasumi with the left hand, and

kick below the opponent's left ankle with the right leg. At the same time the right hand catches hold of the opponent's left sleeve, pull with the right hand, pull back with the right leg, and kneel. Push enough with the left hand into the kiri kasumi, then drop him.


Suisha ** The opponent strikes with the right fist, left fist, right fist. Maintain a natural posture (shizentai).

1. Strike up into the opponent's right fist with a left-hand uchi age. This is done with the right fist to the inner thigh

of the opponent's left leg.

2. The opponent strikes with the left fist. Block out to the right with the right arm, block the opponent's right fist

with the left hand, and at the same time get hold of the sleeve and pu ll.

3. The right hand catches hold of the opponent's right shoulder tip.

4. Kick up with the right leg into the inner thigh of the opponent's right leg. At the same time perform uchimata on the left leg, and as the

right hand pulls, push with the left hand. Simultaneously, with the leg wrapped around the inside of the left leg for uchimata, change to spring up to the front

outside right and drop him.


Kubiwa §fffflB

The opponent comes in with a right fist, left fist, right fist, left kick.

1. Maintain hirashizentai . Block the right fist with the left hand, and block twice against the left fist with the right arm.

KUKlSH I N -RYU OAKE N TA lj UTSU 193

2. Block the last right fist with the left hand, catch hold of that sleeve, and pull. Block the left leg with the right hand, striking into the thigh.

3. Immediately bring the right hand to the crevice at the opponent's left ryumon and push down. Holding the sleeve in the left hand, pull strongly. Pull the left leg back (behind), kneel, and drop him.


Hosetsu Ji)j~

The opponent comes in with a right fist, left fist, right leg,

right fist.

1. Maintain shizentai. Block twice against the opponent's right and left fists and counterstrike with the right hand into the thigh on the opponent's right leg.

2. Knock the opponent's last right fist down and to the left with the left hand, and from above the opponent's right hand catch hold of the opponent's left collar and choke.

3. The opponent strikes up with the right hand into the hand that is performing the left choke.

4. Change and throw with ippon zeoi nage from the outside

of the opponent's right hand.


Iso arashi &Ui

The opponent comes in with a left hand to the chest, right

fist, right leg.

1. With the right hand, catch hold of the opponent's hand at

the chest. Grasp the left wrist.

2. With the left hand, deflect the opponent's right fist.

3. Also use the left hand to deflect the right leg.

4. With the left hand under the opponent's right jaw, push the right collar.

5. With the right hand, execute omote gyaku dori on the opponent's left wrist. Pull back (behind) enough with the

right leg, kneel, and throw.


Yanagi ore ~ptfT

The opponent comes in with the left hand to the chest. right fist, right kick.

1. With the right hand, lightly take hold of the opponent's left hand that is at the chest and hold it in the form of omote gyaku dori.

2. With the left fist, deflect the opponent's right fist and right leg.

3. With the left hand, catch hold of and lift up the opponent's left elbow.

4. While holding the opponent's left wrist in omote gyaku dori , with the right leg

194 CHAPTER 8

kick to the inner sai of the opponent's left leg using yoko geri, drop the hips, pull back with the right leg, kneel, and throw.


Fubuki 1l5.:~

The opponent comes in with a left hand to the chest, right fist, ri ght kick.

1. The opponent has hold of the chest with the left hand. Hold that hand lightly in

the form of omote gyaku dori.

2. Block the right fist with the left hand, and immediately

strike to the th igh of the right leg whi le moving with the opponent's force.

3. With the left hand, catch hold of and pu ll the opponent's left elbow, and lift it up.

4. With the right leg, kick up into the opponent's gedan and

at the same time insert the left hip. The right hand has the opponent's left hand in omote gyaku seoi nage.


Kataho J:t~.I'L

The opponent comes in with a right fist, left fist, right leg, left leg, right punch.

1. Block the opponent's right fist with the left arm and deflect the left fist with the right arm. Block the right leg with the left fist striking to the sai, and block the left leg with the right fist striking to the sai .

2. Block the opponent's last right fist with both hands in the form of jumonji, perform ura oni kudaki, then with the

right leg throw with osoto.


Tatsumaaki li~~

The opponent comes in with a right fist, left fist, right leg, left leg, right fist.

1. Maintain shizentai. Use the left arm against the opponent's right fi st and use the right arm against the opponent's left fist. Strike the knee joint of the right leg with the right fist and the knee joint of the left leg with the left fist.

2. Block the opponent's last right fist with jumonji . With the left hand catch hold of the opponent's right sleeve and pull.

3. The opponent once again comes in to strike with the left fist. With the right hand, from the inside, strike up with uchi age into the hoshi.

4. With that right hand immediately push strongly into the side of the opponent's neck.

S. With the heel of the right leg str ike into the kaku of the opponent's right leg. Pull the right sleeve far enough with the left hand, then throw with osoto nage.

Hidari waza is also the sa me.

KUK ISHI N-RYU DAKE TAIJU TSU 195

CHUDEN GAIA 1f11~~ "~

Uranami iiliiN

The opponent comes in with a right fist, left fist, right leg, right fist.

1. Mainta in shizentai. Block the opponent's right punch with the left arm and deflect

the opponent's left punch with the right arm.

2. Block the opponent's right leg with the left hand, hit the kaku, block the last right punch

with the left hand, and at the same time with the right hand perform ura oni kudaki .

Kick into the opponent's inner right kaku with the right leg, get the opponent's right

arm in oni kudaki gyaku dori, then throw strongly with osoto nage using the right leg.


Tenchi ~ith


right fi st.

1. Maintain shizentai . With the left arm against the oppo

nent's right fist, the right arm against the left fist, kick the

right fist up to the left and strike in with the left fist to the thigh on the right leg to block.

2. Block with jumonji and attach the right hand against the opponent's last right fist.

3. With the right hand immediately grasp hold of the oppo

nent's right hoshi and pull.

4. From outside the opponent's right hand get the opponent's

wrist with the left hand, and perform omote gyaku on the

opponent's right hand.

5. Kick up into the opponent's testicles with the right shin,

pull back behind with the left leg, kneel and secure the

right hand downward, then drop him.


Katanami !'tiN

The opponent strikes in with a right fist, right leg, right fist.

1. With the left fist against the opponent's right fist, block by

striking up into the right fist's hoshi . Block the opponent's

right kick by striking into the sai with the right fist, block

the opponent's last right fist with the left arm, and catch

hold of that sleeve.

2. Strike in and push strongly into the opponent's kiri kasumi with the right thumb.

3. Immediately move out to the opponent's right side and drop him wi th harai goshi.


Kasumi gake ~m

The opponent strikes in with a right fist, left leg, right fist.

1. Block the opponent's right fist by striking up with the left fist into the hoshi.

196 CH A PTER 8

2. Block the right leg with the right fist by striking into the sai and immediately strike

into the opponent's forehead with the right hand .

3. Catch hold of the opponent's right sleeve with the left hand and pull downward.

4. Catch hold of the hoshi on the opponent's right arm wi th the right hand and pu ll downward.

5. Immediately change and throw with ippon zeoi.


Taki no se jj\~~~

The opponent strikes in with a right fist, right leg, right fist.

1. Block the opponent's right fist and right leg the same as before. Block the last right punch with the left hand.

2. The opponent takes the block at the left wrist with the

right hand and comes in with the hips for hane goshi.

3. Against the opponent's hane goshi, strike strongly with the right fist into the thigh of the right leg and sweep it.

4. With the left hand take the opponent's right shou lder and

push, with the right hand take the opponent's left wrist, and with the left arm perform gyaku osae dori .

5. Immediately change, insert the left hip, and throw.


Shiokaze ijl;}j\,

The opponent strikes in with a right fist, right leg, right fi st.

1. Block the opponent's right fist and right leg the same as before. Block the last right punch with the left hand, catch

hold of the opponent's right sleeve, and with the right leg

kick up into the kaku on the inside of the opponent's left leg.

2. With the left hand, catch hold of the opponent's right wrist

in omote gyaku.

3. With the right hand, catch hold of the opponent's right hoshi.

4. Pull the left leg back (beh ind), kneel, and throw.


Varna arashi Illiit

The opponent comes in with the left hand to the chest and strikes in with a right fist.

1. Against the opponent's right fist, step back with the right leg and block with the left hand.

2. With the right hand, grab the opponent's hand that has hold of the chest in kote gyaku dori .

3. With the opponent's left arm in this position, throw with ippon zeoi. The right leg

changes position and comes to the front left.


KUKISH IN- RYU OAKE N TA IJ UTSU 197

Yanagi kaze WP}@.

The opponent comes in with the left hand to get the chest, and strikes in with a right fist.

1. Step back with the right leg and block with the left arm.

2. With the right hand grab the opponent's left hand that is holding the chest in

takeori, get around beh ind the opponent to the outside left, and twist the arm.

3. With the left leg, kick in to the opponent's left ca lf. pull and drop with hiki taosu. Execute oikake dori.


Tatsunami ~g;~

The opponent comes in with the left hand to get the chest

and strikes in with a right fist.

1. Block the opponent's right fist wi th the left hand. At the

same time, from above the opponent's left hand, catch

hold of the opponent's elbow sleeve with the left hand.

2. Strike into the opponent's left butsumetsu with the left

hand, then get hold below the opponent's left underarm.

3. Get the opponent's left arm in a reverse and pull back the

left leg. Kneel and push with osae komi.


Koo Jfi:.J¥,

The opponent comes in with the left hand to get the right

chest and strikes in with a right fist.

1. Block the opponent's right fist with the left hand.

2. With the right hand, get the opponent's left wrist in omote

gyaku, and catch hold of the opponent's right hoshi with

the left hand and pull.

3. Insert the right leg for uchimata and wrap the left leg, pull,

and at the same time strike up with the right hand into

the opponent's asagasumi, and drop him.


Kasane iwa ~:E

The opponent comes in with the left hand to get the chest, and strikes in with a right

fist.

1. Deflect the opponent's right fist with the left hand.

2. With the right hand, get the opponent's hand at the chest. Grab the left wrist in

the form of takeori.

3. With the left hand, from above the opponent's left arm, catch hold of the elbow

sleeve and pul l. With the opponent's left hand in a gyaku, push.

4. Immediately with the left leg, drop him with osoto.


198 CH A PTER 8

Shiho dori lZ!3:1Jtm

The opponent strikes in with a right fist. First the left hand comes to grab the chest,

and then the fist strikes.

1. Pu ll back with the right leg, block the opponent's right fist with the left hand, and

catch hold of that arm's wrist. With the right hand, from under the opponent's

right arm, raise the left hand, folding it up, and perform oni kudaki.

2. Pull back with the right leg.

3. Immediately change and insert the left hip and throw with ippon zeoi .


SABAKI GAlA m~~ -Arakoma JiE!iiJ

The opponent comes in with the left hand to the chest, right

leg, right fist.

1. The opponent grabs the chest with the left hand. With the

right hand execute ura kote gyaku, holding lightly.

2. Block the right leg and deflect the right fist with the left

hand.

3. With the left hand, grab the opponent's asagasumi and

throw with koshi otoshi.

Kasoku JmJE

The opponent comes in with the left hand to the chest, right

leg, right fist.

1. With the right hand, grab the opponent's left hand that

has taken the chest in kote ura gyaku, holding lightly.

2. Block the opponent's right leg and deflect the right fist

with the left arm.

3. With the bottom of the right foot kick into and break the

opponent's inner right kaku.

4. At the same time with the left foot, roll the opponent's

left ankle up from the inside.

5. With the left hand strike into the opponent's kimon and at the same time grab the

opponent's left hand with the right hand in kote ura gyaku and th row.

Chikusei t'rflS


1. Deflect the opponent's right fist with the left arm and right block against the left

fist. Immediately grab and pull the sleeve, right leg, right fist, block wi th the left

leg, and with the left hand grasp that wrist.

2. With the right hand grab hold of the area where the opponent's ribs are and pull

out to the left.

KUKISHI N -RYU OAKE N TAljUTSU 199

: . . . ! • ~

; I :, i

; .

3. Immediately with the right hand stri ke into the lower chest's butsumetsu and

throw with a right harai goshi.

Yume makura ~tt


1. Block the opponent's right fist with the left arm and block the left fist with the

right arm. Block the right leg with a right fist strike into the sai.

2. Block the last right fist with jumonji and stay connected to it. Wi th the right hand

catch hold of the right sleeve and pull, and wi th the left hand perform gyaku ura

kote dori and go in for ippon zeioi, then drop him with temakura on that arm.

Suso sabaki mir2m

The opponent comes in wi th a right fist, left fist, right leg,

right fist.

1. Deflect the opponent's right fist with the left arm and

block and hold the opponent's left fist wi th the right hand.

Block the opponent's right leg by striking into the sai with

the right fist and block the right fist by striking up into the

hoshi with the left arm.

2. Step to the front right and catch hold of the opponent's

left sleeve with the left hand.

3. At the same time, with the right hand execute ura gyaku

dori on the opponent's left wrist, and with the left hand

get hold of the opponent's shoulder from the inside of

their left hand, then change and throw with left koshi

nage. Pull back with the right leg, kneel, and throw.

Iso gaeshi ~~


right fist.

1. Deflect the right fist wi th the left arm and deflect the left

fist with the right hand.

2. Block the right leg by striking into the sai with the right fist.

3. Block·the opponent's last right fist with the left arm and

with the right hand immediately grab the opponent's right

hand in gyaku ura dori. From the outside insert the hips

and throw with katate nage.

Kaze harai 111.11

The opponent comes in with the left hand to the chest, right fist, right leg.

1. Stri ke the hosh i of the left hand that is coming to take the chest and hold it.

2. Deflect the right fist with a left fist strike to the opponent's right hoshi. Deflect the

left leg with a left fist strike to the sa i.

3. With the right hand get the opponent's left hand in gyaku ura kote, pull the left

leg back, and with the gyaku lift and close the wrist.

200 CH AP TER 8

4. Go under the opponent's left hand from the outside and throw. The opponent falls

face up.

Kuruma dori ~l1Ii

The opponent comes in with the left hand to the chest, right fist, right leg. Do the same as before, and on the last punch grab the opponent's left wrist in gyaku ura dori . Lift up and with the right hand take the hips, then throw with koshi nage.

Kimon *r~

The opponent comes in with a right fist, left fist, right leg, left leg, left fist.

1. Deflect the opponent's right fist with the left arm, deflect the left fist with the right arm, strike and sweep away the right leg with the right fist,

then sweep away the left leg with the left fist.

2. Block the last left fist with the right hand, then immedi- .

ately catch hold of the sleeve with uchi maki.

3. Immediately pull the left leg (far) enough back, kneel, and throw with katate nage.

The opponent comes in with a right fist, left fist, right leg, left

leg, right fist.

1. Block the same as before up to the left leg .

2. Block the last right fist with jumonji .

3. With the left hand from the outside, catch hold of the

opponent's right wrist. The left hand catches hold of the sleeve on the inside of the opponent's wrist and pulls. The opponent's right hand goes into a gyaku.

4. With the right leg, kick up into the opponent's testicles and throw with osoto gake.

Ukimo ;'¥~

The same as before but throw with seoi nage.

Ranfu jliLJ!l

The same as before but kneel with the right leg and throw

with seoi nage.

OKUDEN ~1n

Fuun J!l~

The opponent comes in with a right fist, left fist, right leg, left leg, right fist.

1. Deflect the opponent's right fist with the left arm and deflect the left fist with the right arm. Strike into the sai on the right leg with the left fist and strike into the sai

on the left leg with the right fist.

KU KISHI N -RYU OAKEN TAIJUTSU 201

2. Block the last right fist with jumonji, then perform oni kudaki.

3. Breaking the opponent's right arm, go under the right hand, move out to the right side, and kick into the opponent's right thigh with the left leg and pull him down

with hiki taoshi. The opponent falls face down.

Sagi D<.~

The same as before up to the last right fist.

1. Block the last right fist with jumonji, then perform oni

kudaki.

2. Kick up with the right shin into the suzu.

3. Kneel and throw with seoi nage.

Kaeshi waza ;g~

The same as before up to the last right fist.

1. Block the opponent's last right fist with jumonji and at the

same time catch hold of the opponent's left-arm hoshi

with the right hand.

2. Immediately hold the opponent's right hand under the left

arm, then perform mushadori.

3. With the right leg kick up into the opponent's solar plexus,

pull the left leg (back) far enough, kneel. The opponent

falls face up.

Oni otoshi *~ The same as before.

Kick up into the opponent's suzu with the left shin, then per

form osoto gake.

Iwa kudaki :E~

The opponent attacks freely with left and right strikes and

also kicks in freely with both legs. Block by making sure to

strike into the opponent's hoshi or kyohaku. Block the legs by

striking into the inner thigh.

1. Block the opponent's last right punch with the left hand

by going (far) enough in to the opponent's side.

2. With a right-hand chinken, immediately strike into the opponent's left vital part

and right vital part, and then into the forehead or the right or left jikyu .

3. Throw with koshi barai.

Yuki taoshi ~fiiJ

The opponent attacks freely with the fists. Block the same as before.

1. Block the opponent's last right fist with the right fist, block and strike up into the

opponent's right-hand hoshi.

2. At the same time, with the left hand execute ura kote gyaku on the opponent's

right hand.

202 CHAPTER 8

3. With the right hand, catch hold of the tip of the opponent's left shoulder.

4. With the left shin, kick up into the suzu.

5. Pull (back) enough with the right leg, then kneel. The opponent falls face down.

Go taoshi lMJ~fiiJ

The opponent strikes freely. Block the same as before. Again as before; grab the opponent's right wrist in ura gyaku dori and throw with a

hip spring.

Dofu ~J!I.

The opponent strikes freely. Block the same as

before.

1. Block the opponent's last right fist with the left fist, then grab that hand in kote ura gyaku.

2. With a right-hand shuto strike the opponent's

left kasumi.

3. Use the right leg on the inside of the opponent's left leg and throw with kake nage.

Oni kudaki .*lri"


before.

1. Block the opponent's last right fist with jumonji.

2. With the right hand catch hold of the opponent's elbow sleeve, pull, and at the same time kick into the suzu with the right leg.

3. From the outside, hold the opponent's right hand

under the left arm. Throw with ippon zeioi.

Ryufu ~PJ!l.


before.

1. Block the opponent's last right punch with the

left hand.

2. The opponent immediately changes and comes in for a hip sweep by grabbing hold of the left hand that blocked him.

3. Drop the hips enough, and with the thumb on the right hand strike into the crevice on the opponent's koe (upper thigh joint). With the left elbow strike the opponent's kimon, and flow in behind the opponent's right side with the left leg. The

opponent falls over sideways.

Tachi uchi :t:7JfJ

The opponent attacks freely the same as before. Block the same as before.

1. The opponent suddenly changes and comes in to throw with koshi nage.

KUKISHIN-RYU DAKEN TAIJUTSU 203

i ,

; I 1't

2. Drop the hips enough and guard. From behind with the left hand, catch hold of the butsumetsu on both sides of the opponent, push in, and throw with gyaku

koshi nage.

Hane taoshi mftiJ

The opponent attacks freely the same as before. Block the same as before.

1. The opponent suddenly changes and comes in to throw with hane goshi.

2. Drop the hips enough and guard. Take advantage of the opponent's change.

3. With the right hand push into the opponent's uko and throw with koshi nage.

The art of paper cutting (kiri kami) Explaining the Kyusho Locations of 48 Openings for Striking, Kuden (verbal transmission)

Happo uke J\1J~

When blocking the opponent's right attack, pull the left leg back, lower the hips, and block.

When blocking with the left hand pull the right leg back, lower the hips, and when blocking with the hand against the leg, make a fist and make sure to strike into the sai or

kaku on the leg.

SHIRABE MOGURI GAlA DEN ~~~1~ .

Moguri dori ~1m

1. Make sure to block the opponent's fists by striking to either the hoshi of the middle joint or to the haneko

using koshi. With the legs make sure to block by striking into the weak points of the thigh, kaku, or yaku.

2. Finally, while going in to execute a technique, step back and perform seigan no kamae, kosei no kamae, and katate hicho no kamae, then enter in on the opponent with the hand that was used to block. Catch hold of the opponent's sleeve or

wrist if possible and step back and roll it.

3. Watch for the opponent's openings and with the right hand strike into the ryumon, amado, or gokuraku. Immediately insert the left hip and throw. When strik

ing with the left hand insert the right hip and throw.

Sharin *~ The same as before, the opponent strikes freely.

1. Block the opponent's last right fist with the left hand.

2. The opponent changes and catches hold of the left wrist, then comes in for harai

goshi.

3. Drop the hips low enough and guard. From behind thrust into the opponent's uko with the right hand, and with the left hand thrust into the koe. Pull and at the

same time kneel with the left leg and throw with otoshi nage.

204 CHAPTER 8

In 1958 I inherited the thirty-fourth soke of Togakure-ryu Ninpo Taijutsu. On that month I carried a portable shrine (mikoshi) along the street (center).

A letter of thanks from Yoshiteru Otani, the chairman of the New York Budokai.

Torafushi J1f!.~

The same as before, the opponent strikes freely.

1. Against the opponent's last right fist, block with the left hand attached to the

right hand. With the right hand catch hold of the opponent's right elbow and pull .

With the left hand perform ura gyaku dori on the opponent's right hand.

2. With the right hand into the opponent's asagasumi, grab hold of the shimo

nakado (area below the Adam's apple), strike the testicles with the right leg, go

out for osoto, and kneel with the left leg. Perform osoto kuzushi.

Ryufuku ~!H~

The opponent strikes freely as before.

1. Aga inst the opponent's last right fist, change to counter the grab to the chest. The

opponent comes in for seioi nage.

2. Drop the hips low enough and guard.

3. With the right hand, strike into the opponent's koe.

4. When the opponent moves to change back to the last

position, immediately push into the opponent's uko with

the right hand . With the right leg drop the opponent

with uchi mata on the inside left leg, also the right hand

could catch hold of the opponent's left shoulder and

pull. At the same time the left hand would push into the

opponent's uko.

lobi chigai mil


1. The opponent's last right fist catches hold of the left arm

block, pulls, and the opponent comes in for koshi nage.

2. With the right hand, push into the opponent's right-side

butsumetsu.

3. The opponent immediately changes the hips back to the last position, and with

the right leg comes in for osoto.

4. With the right hand, strike in and push enough into the uko, and with that hand

immediately change and push into the nakado (area around the Adam's apple).

Throw with ippon seioi on the opponent's right hand.

Varna otoshi LlJ~


1. Block and catch hold of the opponent's last right fist with the left hand. The oppo

nent catches hold of the hand that is holding his and with one hand to the chest

comes in for harai goshi.

2. Lower the hips and guard. With the right hand strike with a shishisuiken into the

opponent's kasumi, and immediately strike into the jin with the thumb.

3. The opponent moves the leg back to the last position. At the same time with the

left hand catch hold of the right and perform ura gyaku kote. Insert the hips and

throw.

KUKISHI N-RYU DAKE N TAIJUTSU 205

, ! : !t

, ./

i I it f

i !

Tekiraku lIl~


1. Block the opponent's last right fist with the left hand, and with the left hand strike into the hoshi on the opponent's middle joint on the right hand. Catch, hold, then

pull in.

2. The opponent comes in to strike again with the left hand. Push that fist up with the right hand, kick into the opponent's thigh with the right leg, and perform hikiotoshi. Kneel and throw.

Heito ~~


1. Block the opponent's right fist with the left hand. When the hand comes in to catch hold, the opponent changes and comes in for a one-hand grab to the chest. As he comes in for harai goshi, lower the hips and guard.

2. The opponent changes back to the last position. Take advantage of that with the left hand and sweep the opponent's right hand up.

3. With the left hand, get the opponent's right hand in omote gyaku dori, then strike into the opponent's butsumetsu with a right fist and

drop him.

Musasabi ~ Free strikes as before.

1. Block the opponent's right fist with the left hand. As the opponent catches hold and comes in for koshi nage, thrust the right hand in

under the opponent's left armpit.

2. Lower the hips, guard.

3. Thrust in with the right hand and push strongly into the opponent's koe.

4. The opponent returns to the last position.

S. Grab the opponent's right wrist in ura gyaku kote dori and with the

right leg get the lower body, wrap it, and throw with harai nage.

Gyoku nage ::li~

The opponent attacks freely as before.

1. The same as before, the opponent changes and comes in for hane-goshi (hip spring).

2. Lower the hips, guard.

3. With the right hand, strike into the opponent's right koe.

4. The opponent immediately moves back to the last position. Get the opponent's right hand in omote (ura) gyaku dori, and catch hold of the opponent's right elbow

with the left hand. Pull the right leg back and push in .

S. Immediately change, move the body back to the last position, and with the right hand push into the opponent's nakado. Throw with harai goshi.

206 CHAPTER 8

Gyaku nage ~~


1. Block the opponent's last right fist with the left hand, and with the right hand get the opponent's asagasumi and go in for uchi mata.

2. The opponent again strikes in with the left fist. Block with the right hand, catch hold, and with the five digits of the left hand strike into the opponent's face with

chinken . When the opponent moves to block with the right hand, immediately change and, using the right hand, grab the opponent's left hand in gyaku ura kote

dori.

3. The right hand gets asagasumi, throw with osoto nage.

Uchiharai H:rA


1. Block the opponent's last right fist with the left

hand, and with that left hand immediately

change and strike into the opponent's face with chinken. When the opponent tries to slip by and come in, strike again with a right-hand chinken to the opponent's face. When the opponent

again tries to slip by, kick in with the right leg. The opponent blocks.

2. Take a step back. The opponent moves to take advantage of that, striking in with the right fist. Lower the hips and block with the left fist, simultaneously striking into the opponent's face with a left-hand chinken. At the same time strike into the opponent's solar plexus with the right fist,

jump in near to the opponent, and strike the

back of the opponent's left hand with the right. Insert the hips and throw with gyaku seioi nage.

Shoden yurushi *JJ{~N

From this point on, after mastery of these techniques, you will gain initiation of verbal instruction at basic

level (shoden; mi~). You will then travel through the

verbal transmissions (chuden; "pi~) and beyond into

the cosmic transmissions (chuden; mi~) . Throughout

this journey the single most important thing is bufu ikkan-the way of war is survival.

KUKISHIN-RYU DAKEN TAIJUTSU 207

IN CELEBRATIO N

in school she was a good student,

and loved to play tennis. My father was a

wholesale fishmonger at Tsukiji fish market and had a

typical "Edokko" character; he also loved women and

sake. So, of course, through that influence I ended up

loving the same things. When I was very young I was

quite ill because of my weak constitution. My father

prayed for me to be healthy, and so he built a big lion as

a sacred palanquin (to protect me from illness and mis

fortune) ; he also built me a sacred palanquin that was a

frog. The image of those sacred palanquins is still fondly

burned in my heart.

My father once said, "Tokyo is a place where even

the eye of a live horse would be pulled out." When look

ing al the eyes of my beloved horses Cooky and Tobi, I

remember those words of my father.

I pray the world will be all right (umaku; ~tL-a pun

on the word for "all right," written here with the charac

ters for nine horses, relating back to Kukishin-ryu).

Written on the day of the tiger, the 29th day of the 9th

month of the 19th year of Heisei.

-(signed) Venerable White Dragon

KUK ISHI N -RY U DA KEN TA IJ UT S U 209

I ~ i t / . ',

I: • . " ! , '

! i

APPENDI X

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sm- _~;m~~.lE~*. ~.lE'5i:*. ~~~~ t . B,G,. sm= _~;m~*~~9~e~;~. kt,it,S.lE'5i:*~

.lE1':~. ~~~e~:Q~e~~~lf. -&~L~nt,. B,c.,.

230 APPEND IX

@:. fJt';j:_f71J0~· t <~.lE~*. ~.lE'i'5i:*. ~_~,,:n t,. fJttJr_I':*:Q . S.lE',: ~fJte ~ ~ )2,""*:Q. ;£~,,: ~ ~OO~~~RL. ~"~~.lE~~~~~.e~)2,Iv'"t'.L.

.m= _~;m~ ~.lE~*. ~.lE'5i:~ ~.eM)2,if~~

.lE~~~~~e~~~~~.T. Bb.

@~~ _t~r<M~*~~.lEen~. ~.lE'"t'Jt~~~ . ~~/J\n'"t'~1 A;1v t T. fJt*;tJ> < ~~~~e~:Q~ .e~:Q . i ~ '':~l(lJ\n '"t'~IA:Q~". fJtS.lE'"t'~~$

~.~e~:Q~t~"~.~~~~~~~~.~~me~

~. S~~~~~L~~fJlJrtil~~.h~ . fJtS.lE~~*~ ~~e~~)2,Iv'"t'-&511. B,G,.

IIm- _~;m~fJt*L. m';j:~SRM~~t . ~~t .. ~ .

wm= _~;m~~.lE'"t'~~$~.~e~:Q~t. ~~e~

~lf:Q~l!l~'~~ .

00- 00 _~;m~~.lE~~S.lE'5i:~~~nt,*~ . ~.lE~

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!j\ne~~~ ~ L ~~~~Hl\: L ~B,G'.

Nm- ~~~~ t . m= ~.lE'"t'*~.lEtA~,t. ~.~)2,.7;.t~l!l~>t .. ~ .

®re. fJt.~;m~*T.~_~~~*n'"t'*~.w~)2,,,,,* :Q . fJtfJlJrtil~~.h~hT~t~"~~.lE'"t'*~.eM"'") ~e~~ ~If .• ;;'I':&~ L ~nt,~BIG,.

11m ~~~~ to wm= _t~r<.*~.eM"'")~e~~~~"'")"'").~ • 1':~~~lf~~ t .

<v~~ fJt_~;m~*T.~.;;,~~*n'"t'w~)2,""*:Q. ~ ~~OO~"'")<.b'"t'~e~9~hT. ~~ •• ~OO~Rh ~ . ~~~.e~?~~~I,:tJ>~>)2,~Iv'"t'~rtill~~~t

~~. ~.lEen~:Q . *~~~~t~~ •• '~.h:Q .

~~I':~~~~Je~~. -&5 I p~I!W~ t L~BIG'.

11m _~;m~~~~~ t . 5m= _~;m~. *~.e~~~~:Q:t.

®~f.III fJt_~;m ~ *T. *_~ ~ ~ *n'"t'fJttJ;~I':~I*:Q. soo~~~e"'")I.~e~hTt~"~.~~~~~~~

.H~"". ~~,,:~~~~~e~~ ~tp~,~"". S.lE'"t'7l< FJe~~)2,Iv'"t'fJlJrtil~~~~~~~~e~~~. ne~~

~BIG'.

11m ~~~~ t . Ilm= _~;m~.~~~.e"'")~""~.lE'"t'7l<FJ~~~)2,1v

'"t'B/L,.

Elf!.\~~O)~

CDWiJi L ffi~:1J, ;{:j~"~fJ!itlliH:1IIl~ . ~ti:~':::Lf{O);{:j ~.~1IIl~, .~~;{:j~~ml.ti:~~~(f{O)ti:~iltr~ ~~. f{~ti:~.~L~~OO$~n;~*~ . ~~;{:j~~ L~~, ~;~;~0);{:j~"f{0)ti:~N.~1IIl~0)~~. I:::, ;{:j~~~( 51 ( . f{'i~O)m':::f*O)J:J: ~1lPIIiJ"n::iIii 1m.

lilll'J ti:~ 0);: ~ . Nll'J= iltrO).~iliilmLL.~ . ti:m~~L~~"~~

®*iJi ffi~:1J~ti:~~;{:j~.",moo~*~ . ~~B.f*~ ~ . f{O);{:j~.fJ!*~~ti:~I:::L~It7m.L, ~.':::~'i~ ~~ti:~~L~O)it~~1IIl~ . ~O).~~~ti:~~L~M ~ J:I::: L L ~ 0)~.~1IIl ~, ~fJ!;{:j~Ii~O)ti:~ti:llIU J: ~ i;l;JI:::~ l~tfO) ~ ~.I:::, ~fJ!W~:1E7:H:::li L L, lll~ A hL&~~~~~ . f{~(LL, &~~~~~~~,;{:j ~B I ~lL, f{0)ti:Mi!ti:1lIUJ: ~ =O)Mi!!}!lWO)J:~J!Il;t, ti: ~~:1E5tl:::5 1 ', ~~. f{'iti:Mi!fJ!~O)t~d){i(m':::fiIJh~ . ~;t~~,,;{:j~~L~O)ti:m~~~~~",~~.~~~

liIlll'J iltro);:' ~ (lll~Aht~ ~ 1&1f~~h~-l'! • • ll'J= iltr~~C(~O)ti:Mi!J!Il;t . ;{:j~~Lf{O)ti:~~m~

J:lffilJ L Lr.M,'.

@1-tIi ffi~:1Jliti:~"~fJtitJj(!j~1IIl~ . ~'i~O)ti:~iiI1 ( 1IIl ~ . f{~;{:j •• ~L~~mOO~n;*~ . ~~ti:~~L~ O);{:j.~~~7m.L, ~;~;;{:j~~L~O)*~~~~J:~ ~O)~~.I:::, ~0);{:j~~ti:~:1JI::::1E5t5 1 1~~. ~.I:::, ;{:j~,,~0)ti:~H~"?~~:1E5tl:::-r':::5 1 1-r~. f{Ii - iIii

1m L L1lPIIiJ'tl:::fiIJh~ . • ll'J iltr~~C(*~~~~f~W~ti:~~~,iltr~~L&

If. Wll'J= iltr~~C(W~ti:~~~~~I.ti:M~LJj(!j~~L

~~"~L&'f.

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&If. Nll'J iltr~~t(~~Bd)~ . ~~;{:j~~~O)-r·~·~L

lllAh& 'f. lill'J= iltr ~ ~ C (~':::Bd)~ L, ~fJt~~:!jt~-.I:::~o) ~lf? f~~L, 5li!lfilJL, ~{'"

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• ll'J iltr~~C (, *Bd)I:::*~. ~'i~M~~~I:::L~;' ~fJtJlt li~ti:m I::: ltiJlt.

• ll'J= iltr ~ ~ C (~fJ!Jlt'if{O);{:jm':::ltiJlt.

® ai'i tli L ffi~Iiti:~"itlliW~1IIl~. ~, ~O)ti:Mi!O)M;{:j~I::: L --tJ:O)M~M~, ti:~~L~O)ti:Mi!~~"? ~~;{:j~

~~ ( ~ (. f{~;{:j~.~L~~~~n;*~ . ~~lll~ . L, ti:~ ~L~~7m.L, ~ ; ~;~~ti:~~L~~;{:j~ J: I::: ~ I, ti:~~:1E5t l:::51' , ~ L Lf{O) ti:JI)i!~~J!Il;t~ ~JI)i!tJT ~ .

mll'J iltr ~ ~ C (, f{fJ!;{:j~.I::: -c*~ ~ "'::: , ;{:j~~f{0) -r.~.~ , JI)i!~~J!Il;t~~Mi!tJT~ .

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(flltitli L ffi.:1JfJlti:~'::: L itlliW1IIl ~ I:::*~ . f{0)ti:~'0)1fI0) J:I:::. ~fJ l~M~IfII:::~ <' (1!lM':::L~( ~l"?"tM~;t ~J:~~~"?f{~;{:j~.,,~~~~n;*~ . ~~ti:~ ~L~~7m.L, ~.~;{:j~~Lf{O)ti:~IfI~~M~M~L W~ti:I:::jJgjL&If. ~O)tj\ !}!lWfJ l~~t .. ~, 1lPIIiJ'tl:::.~ . ;{:j ~I::: L m~~ ~ ~~"~IL'.

Rll'J iltr~~C(,~O);{:j~.~~~7m.L, ~.~ti:.~n I::: L~O)ti:mUiin; . iltr ~ ~ C.

Nll'J= iltr~~t(ti:~O);:~ . ~;f{~;{:j~JtOO.~~ti: ~~~O);{:j~IfIO)J:~~M~~I , M~"ti:&If~~ .

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lill'J iltr~~C ( , ~fJlti:~.I:::L~O)OO$~n"?O)lt~l~

~ . liIlll'J= ii1iU'iJC (ti:~.~m~lf':::, ;{:j~I:::L~O)-r.'::: ~1)~~"J!Il;t~~ •

®1-11J ffi.:1JfJlti:~'::: L~fJIJtlliW~1IIl~ . ~Ii-r J: I) ~O)lliW ~~"?~O)1j!:O)illfJ'~'-l\ (Mtf. ~fJl;{:j~."n;~~* ~ . ~~ti:~~L~~7m.L, ~;~;~~;{:j~,,~(f{0) ti:~#O):1J~M~, J:$':::J:~ . f{O)/J\!}!lWIH.ttttJTl) ~ ~1),ti:m~~I),ti:~~L~O)ti:~~~M~ti:~~L, ;{:j~BII~~. f{(l(fltl:::fiIJh~ . Jl)i!tJT I) , ~IL'.

Nll'J iltr~~t(,ti:~~L~~Mtf~~.~,;{:j~~L~ O)ti:~;:tf~~~I), 5 1 1{fiJ~ .

Wll'J= iltr~~t(~O)ti:~.~.tttJTl)~LL,;{:j~~-r .I:::.'tL5li!I{fiJ L.

@i.~1 ffi~:1JfJl;{:j~'::: L~fJlJtmti:~M~1IIl1) *~ . ~'i~ O)ti:Mi!-rJ:l)m-r~Mtf . ~*~~.~~ . ~.~~·~ I)L~~:1E5t~~J:I)~O);{:jOO~ltiL7m.~ . ~0)~1:1E5t I:::;{:j~"~O)ti:Mi!~ 51 ( . ~'i~fJlWO)J:J: I) tlifilJ L U .. I), ~O)J:I:::,1:Mtl) U .. I) , *Bd) •

f.!!ll'J ii1i ~ ~ t (*~,:::mfJ'~ ~ I, ~fJlti:.I::: L~O);{:jm ~M~, ~M~L~LAh~ • • ~~C •

@,fi ffi~:1JfJl;{:j~lliWI:::L~fJlti:~M~M~*~ . ~'i~~ J:~I) ~B.WO)~~ . ~fJ!1Hl.~l&'fl:::*~~;:0, ~ ~~;~;;{:j~.~-c~O)Uii$n ; . ti:~"~0)~0111.

O RI G INAL J APAN ESE T E XT 231

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t, <!Iv

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232 APPENDIX

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234 APPENDIX

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