kukishinden ryu dakentaijutsu

DAKENTAIJUTSU (YOROI KUMI UCHI)...............................................................................................3

KIHON KAMAE GATA (BASIC POSTURE FORMS)....................................................................................4GOHÔ NO KAMAE (Five Way Postures)................................................................................................4

HIRA NO KAMAE (Flat Posture).........................................................................................................................4HIRA ICHIMONJI NO KAMAE (Flat Number One Posture)..............................................................................5SEIGAN NO KAMAE (Correct Eye Posture).......................................................................................................6KATATE HICHÔ NO KAMAE (Single Crane Posture)......................................................................................7KÔSEI NO KAMAE (Offensive Posture).............................................................................................................8

SHODEN NO KATA (INITIAL TRANSMISSION FORMS)..............................................................................9SEION (Living Sound/Life Sound)........................................................................................................................9SUI YOKU (Water Wing)....................................................................................................................................11SUI SHA (Water Wheel).....................................................................................................................................12KUBI WA (Collar)...............................................................................................................................................13HÔSETSU (Avalanche).......................................................................................................................................14ISO ARASHI (Sea Storm/Storm Hitting a Beach)..............................................................................................16FU BUKI (Blizzard/Snow Storm)........................................................................................................................17KATA HO (Leaf Sail)..........................................................................................................................................18TATSUMAKI (Tornado/Whirlwind)...................................................................................................................19

CHÛDEN NO KATA (MIDDLE TRANSMISSION FORMS)..........................................................................20URA NAMI (Inlet Waves/Inside Wave)..............................................................................................................20TEN CHI (Heaven and Earth)..............................................................................................................................21KATA NAMI (Single Wave)...............................................................................................................................22KASUMI GAKE (Haze Hook/Mist Bluff)..........................................................................................................23TATSU NO SE (Rapids of the Dragon)...............................................................................................................24SHIO KAZE (Salt Wind).....................................................................................................................................25YAMA ARASHI (Mountain Storm)....................................................................................................................26YANAGI KAZE or RYU FU (Willow Wind).....................................................................................................27TATSU NAMI (Dragon Wanders).......................................................................................................................28TORA-O or KOBI (Tiger’s Tail).........................................................................................................................29JÛGAN (Heavy Rock).........................................................................................................................................30SHIHÔ DORI (Four Way Capture)......................................................................................................................31

SABAKI GATA (LATERAL MOVING FORMS/EVASION FORMS)...............................................................32ARA KOMA (Wild Horse)..................................................................................................................................32SHIKA ASHI or KA SOKU (Deer Foot).............................................................................................................33CHIKUSEI (Bamboo Sound)...............................................................................................................................34YUME MAKURA (Dream Pillow).....................................................................................................................35SUSO SABAKI (Moving the Hem).....................................................................................................................36ISO GAESHI (Turning Over on the Shore).........................................................................................................37KAZE HARAI or FU SHOKU (Wind Sweep)....................................................................................................38KURUMA DORI (Wheel Capture)......................................................................................................................39KIMON (Demon Gate)........................................................................................................................................40URA KIMON (Inside Demon Gate)....................................................................................................................41UKI MO (Seaweed/Floating Algae).....................................................................................................................42RANPÛ (Disordered Wind).................................................................................................................................43

OKUDEN NO KATA (INNER TRANSMISSION FORMS).............................................................................44FÛ SETSU (Wind and Snow)..............................................................................................................................44GONGI (Authority Technique/Power Technique)...............................................................................................45KAESHI WAZA (Reversing Technique).............................................................................................................46ONI OTOSHI (Demon Drop)...............................................................................................................................47IWA KUDAKI (Breaking Rocks)........................................................................................................................48SETSUTÔ (Snow Topple)...................................................................................................................................49GÔTÔ (Defeating Strength).................................................................................................................................50DOFÛ (Wind Catches).........................................................................................................................................51ONI KUDAKI (Breaking the Demon).................................................................................................................52RYÛ FU or YANAGI KAZE (Willow Wind).....................................................................................................53TACHI UCHI (Standing Strike)...........................................................................................................................54HANE TAOSHI (Leaping Knockdown)..............................................................................................................55

SHIRABE MOGURI GATA (SINKING FORMS)........................................................................................56MOGURI DORI (Submerging Capture)..............................................................................................................56SHARIN (Axle)....................................................................................................................................................57

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KO FUKI (Tiger Takedown)................................................................................................................................58RYÛ FUKU or RYU BUSE (Dragon Takedown)...............................................................................................59TOBI CHIGAE (Walking Jump).........................................................................................................................60YAMA OTOSHI (Mountain Drop)......................................................................................................................61TÔ RAKU (Strike Down)....................................................................................................................................62SHÔ TÔ (Dissolve Hitting Down).......................................................................................................................63MUSASABI (Mongoose).....................................................................................................................................64TAMA NAGE (Jewel Throw)..............................................................................................................................65GYAKU NAGE (Reverse Throw).......................................................................................................................66UCHI HARAI (Sweeping Strike).........................................................................................................................67

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DAKENTAIJUTSU (yoroi kumi uchi)

“As I mentioned in ‘The History of the Kukishin Ryû’ Urabe Sukumi Kanesada, 11th Sôke of the Kishin Tosui Ryû, learned Kenpo from Sonjin-Shi Yoshihide, who had come to Japan from China during the years 1345-1349, and added it to the Tosui Ryû as Dakentaijutsu. Then in 1349 Izumo no Kanja Yoshiteru gave it the name Kishin Dakentaijutsu. Now, before making an explanation of Kukishin Ryû Dakentaijutsu I will introduce the “Gokui no Utaí” (“Poems of the Secret Principles”) found in the Kukishin Ryû densho.

‘Tsukikage no terasanu sato wa nakeredomo nagamuru hito no kokoro ni zo sumu’

‘There is no village upon which the moonlight does not fall, but in the mind of he who looks there is’

Izumo no Kanja Yoshiteru

(The moon’s light shines fairly upon everything. If you feel that it is not shining on your place that is a mistake. It is because the mind of the one who is looking is clouded.)

‘Omizu no saki ni nagaruru tochi gara mo mi o sutete koso ukamu se mo are’

‘Even the soil washed away in front of a flood, by giving itself up, will float in any torrent’Hozen

(Even dirt washed away by a flood will naturally float to the water’s surface. This means that even if you are in a desparate situation, if your mood is that of Sutemi, or throwing yourself away, you can find a way to win.)

‘Mi no sonae yu o arawasu bu no naka ni shin no gokui wa kokoro narikeru’

‘Within all the defenses the body uses to show courage, the true secret is the mind.’Okuni Kihei Shigenobu

(The kamae of the body seem to express one’s strength but true strength is in the heart.)

‘Bu no hi to wa kataki no chikara o riyo shite yanagi ni kaze no kokoro tomokana’

‘Is not the secret or power making use of the enemy’s strength, the heart of a willow in the wind?’Kuhara Kotaro Nobuyoshi

(What is important in the martial way is leaving out any excess power and using an opponent’s strength, doing exactly as the branches of a willow tree do when blown by the wind, swaying with no tension.)

Whichever of the above phrases you read, it is saying that being prepared in the mind is important in budô. Please work on creating a composed, confident state of mind. To do so, correct training (this means concentrating on thinking about the meaning of a technique. I don’t think you will get good results by thinking unnecessary thoughts) is very important.”

Quote from Manaka Unsui

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KIHON KAMAE GATA (Basic Posture Forms)

GOHÔ NO KAMAE (Five Way Postures)

HIRA NO KAMAE (Flat Posture)

The feet are shoulder width apart. Both hands are in fudoken, palms facing the body on the inside near the hips.

“With both hands open and held at the hips, your eyes stare into the opponent’s eyes.”Quote from Manaka Unsui

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HIRA ICHIMONJI NO KAMAE (Flat Number One Posture)

The body is the same as Hira No Kamae. The arms are outstretched to the side of the body. The hands are in shikanken so that the fingers will not get cut off. Also, it is almost impossible to make a fudoken when wearing armor.

“With both hands open and spread out to the right and left, your eyes stare into the opponent’s eyes.”


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SEIGAN NO KAMAE (Correct Eye Posture)

The body is sideways to uke. The left hand is in shikanken and points at (U) eyes, the right hand in shikanken resting on the heart.

“With the body turned to the right side, lightly clench your right fist and put it on your hip, and put your left hand in shuto at the opponent’s eyes.”


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KATATE HICHÔ NO KAMAE (Single Crane Posture)

Same as Seigan No Kamae. The left foot is back near the right foot.

“With the body turned to the left side, lightly clench your right fist and point it at the opponent’s chest and keep your lightly clenched left fist against your left chest. Your eyes stare at the opponent’s eyes.”


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KÔSEI NO KAMAE (Offensive Posture)

The left hand is shikanken above the eyes. The right hand is by the heart in shikanken.

“With the left hand lightly clenched and above your own head, lightly clench the right fist and put it against your chest, pull your right foot back and lower your hips. Your eyes stare into the eyes of the opponent.”


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SHODEN NO KATA (Initial Transmission Forms)

“The kata of the Shoden (beginning scroll) are training in intense, forceful techniques to demolish an opponent with aggressive attacks; especially in throwing opponents by pulling with the legs. Thus, early in training it cannot be helped if the techniques require strength to perform.”


SEION (Living Sound/Life Sound)

(U) holds (T) in kumi uchi Grab (U) left collar with the right hand, right collar with the left hand. The right thumb presses into nerve in the side of (U) neck. As you do this, shift your left

foot to the left, pulling (U) right arm straight, and making your own right arm straight. Place (kick) the right foot against (U) right knee (or hip). Pressing the nerves in (U) neck, pushing out the foot, and turning counter-clockwise,

throw (U) onto back with osoto gake.

HENKAInstead of placing your foot on the (U) hip, place it behind (U) right leg and throw.

HENKA (YOROI) Face each other in Hira Ichimonji No Kamae, with the right hand grabbing the shoulder strap,

and the left hand either the elbow, or the protective plate on the back of the hand. The left hand lets go, comes in underneath and strikes to the tendons on the inside of (U)

wrist, to knock it clear (this is a short movement). Take hold of the inside of (U) sleeve by the elbow, then the right foot is placed behind the

back of (U) right foot with the calves touching. (U) is the forced backward.

Note: Jack explains that you should move to the outside and around the opponent to a point where he is completely off balance, then step in towards the opponent so he falls into the kukan.

Note: Hold the strap high on the shoulder. As the right foot is placed on the ground, (U) balance is pushed backwards. The left foot can come in to be close or on to (U) right foot. As you grab in kumi uchi, the body weight sinks a little.

“The meaning of the technique is to cause [the opponent] to make a sound. While attacking the opponent’s neck with boshiken or shishinken (the fingertips), you throw him using osoto gake. It is important to sufficiently unbalance the opponent using boshiken.”


“Firmly grasp the opponent’s grabbing hand with your left hand and thrust with the right. This is an important principle for kumi uchi. Then fold the opponent’s knee. Fold the knee and take down. Having brought him down, apply a hold to his joints with the body.

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Just as it is considered important to walk rhythmically, when carrying heavy objects the armored warrior walks keeping a rhythm. Having come to grips with the attacker, thrust in with the shitoken through the gaps in the opponent’s armor. Then press in. In the previous technique the knee was kicked out but here, because of the armor plating, there are cases where a kick will not work. Thus one positions one’s left leg so as to control the opponent’s joints and then take him down.

The opponent has fallen. At this time, you can draw the sword and thrust it in under the helmet without aiming for any particular target. Then as you turn the sword you can cut the neck. This is important; a takedown. Here, this armor breakfall is important.”

Quote from Hatsumi Sensei’s video

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SUI YOKU (Water Wing)

(U) from Seigan, right jodan tsuki From Hira, move back into Seigan; left jodan uke.

(U) left jodan tsuki Right jodan uke; grab the wrist after the block.

(U) right keri Left gedan uke, boshiken (U) kirigasumi (below the ear). Step forward with the right foot, kick with the left to ryuge (ankle bone outside calf). Kneel with right leg, uzumaki.

“The technique gets its name from its use of the arms in a way resembling the large movement of a bird flapping its wings. Grabbing the opponent’s arms and unbalancing his body, you throw him with the body power created by pulling the left leg back.”


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SUI SHA (Water Wheel)

(U) right jodan tsuki Left jodan uke (daken-style). Ducking low, strike (U) nasai.

(U) left jodan tsuki Right jodan uke.

(U) right jodan tsuki Left jodan uke, grab (U) wrist with the blocking hand. Kick (U) left leg with your right foot to sai. Grab (U) neck. Finish with uchi mata.

“The meaning of the technique is to make the opponent’s body roll over like a water wheel. Kicking upwards into the uchi mata (inner thigh), you finish by spinning the opponent’s legs into the air. You need to practice sufficiently at using both arms and both legs.”


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KUBI WA (Collar)

(U) right jodan tsuki From Seigan, left jodan uke.

(U) left keri Grab (U) wrist, right gedan uke. Right boshiken from the inside to (U) ryumon. Take hold of (U) neck, twist (U) down to the left by stepping back with the left leg. Lock (U) arm with your knee. Re-apply boshiken.

“The meaning of the technique is to attack the enemy’s neck. The use of the four fingers of your right hand is very important. How and which direction to pull onto the left foot and also the timing for using the right hand also become important.”


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HÔSETSU (Avalanche)

(U) and (T) are in Kosei No Kamae(U) right jodan tsuki

Left jodan uke.(U) left jodan tsuki

Right jodan uke.(U) right keri

Right fudoken (U) nasai.(U) right jodan tsuki

Left jodan uke. Grab (U) right collar with your left hand.

(U) swings his right arm down to knock off your grab Grab (U) right hand with your left hand in omote gyaku. Turn clockwise so that your back comes to (U) back. Strike with a right elbow to (U) butsumetsu, holding your left hand high above your

head. Right hand joins the left; pull (U) down on the right side to his back.

Note: Jack explains that after you spin behind and elbow (U) butsumetsu, put (U) arm into gyaku zeoi, then lift (U) arm straight up, then behind (folding backward at the elbow, looks like (U) is scratching his back), then pull straight down to the ground.

HENKASame start.

Grab (U) left wrist with the right hand after the strike to nasai. Lift the wrist you’re holding and grab (U) same arm with your left hand, swinging it out

to the right to stop the jodan tsuki. Switch hands on (U) wrist, apply a choke with the right hand. Turn your body so that you can start a seoi nage.

(U) pulls away. Go under, throw with ippon seoi nage.

Note (yoroi): When (U) is down, the cresting or the wings of the helmet can be held to restrain him, and restrict his movement.

“The name of the technique means to throw the opponent all in one instant like an avalanche. The way you enter with your body when you throw with ippon zeoi nage while breaking the elbow is am important technique.”


“When grappling in armor if you fall down, it’s the end. Thus, so as absolutely not to fall down, there is the armor stepping. Step firmly, one by one precisely fixing the foothold. Then establishing in your mind the presence of the armor sleeves and the like, carefully take the proper distance. Gyaku are also applied while taking the proper distance. Having applied the gyaku, send the opponent flying, more so than putting the hold in to the limit.

Counter the opponent’s fists by hitting them upward as much as possible. Then strike in through the gaps in his armor. When you grab the opponent you may grab any place. Then move to push down the opponent. When the opponent dislodges your hand, grab hold again. Then move to take him into a back throw. If the back throw does not work, move your body to pull the opponent

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down. You can in essence just pull him down. Then, using the kabuto wari (helmet breaker), break the attacker’s helmet.”


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ISO ARASHI (Sea Storm/Storm Hitting a Beach)

(U) grabs your collar with his left hand, right strike From a form of Kosei, left jodan uke.

(U) right kick Left gedan uke. Lock (U) hand on the collar, strike face with a left shakoken. Step back with the right foot, uzu maki. Lock the hand on the knee to finish.

“The meaning of this technique is to be as savage as waves during a storm. You attack the joints with omote gyaku. What is important I the side-to-side shifting of the body and to throw the opponent using the joint pressure created by pulling hard enough with your left leg.”


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FU BUKI (Blizzard/Snow Storm)

Starts the same as Iso Arashi Defense is the same, but take (U) hand in omote gyaku. Take hold of the elbow with the left hand, and force it upward. Kick to right nasai. Turn under the arm to throw with seoi nage.

“The meaning of the technique’s name is to blow into your opponent like a blizzard. Using the elbow joint and omote gyaku to pin the opponent in place, you force his body to move the way a blizzard does and use koshi nage to decide the end of the fight.”


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KATA HO (Leaf Sail)

(U) right jodan tsuki Left jodan uke.


(U) right keri Right fudoken (U) nasai.

(U) left keri Left fudoken (U) nasai.

(U) right jodan tsuki Block with Jûmonji, apply oni kudaki. Step out to the side, seoi nage.. Straddle (U), lock the arm.

“The condition of being unbalanced as though catching all the wind in a sail on one side. Receiving the last punch with the arms crossed (jûmonji), catch the elbow joint in oni kudaki and go to osoto gake. The method of using the right hand when catching in jûmonji is important.”


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TATSUMAKI (Tornado/Whirlwind)

Starts the same as Kata Ho, until the last right jodan tsuki Start to apply the jûmonji dori.

As (T) applies Jûmonji dori, (U) strikes with a left jodan tsuki. Step to the side, jodan uke, omote shuto (U) uko. Take hold of (U) daimon, step out, kick with kakato keri (backward hook) to (U) the

hip or upper thigh. Kneel, pull (U) down across the hips.

“Tossing up and throwing the enemy’s body like a tornado. In this technique, with the finishing osoto gake you hang your opponent up as though to bend and break his body. It is important to make the opponent spin around and around.”


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CHÛDEN NO KATA (Middle Transmission Forms)

URA NAMI (Inlet Waves/Inside Wave)

(U) in Seigan No Kamae, (T) in Hira No Kamae(U) right jodan tsuki



Step forward 45 degrees to the right, left gedan uke (U) right thigh.(U) follows and strikes with right jodan tsuki

Jûmonji, apply oni kudaki. Right keri (U) stomach. In the same motion drop right foot behind (U) right foot, drop (U) with oni kudaki.

“The meaning of the technique is to do footwork that is like waves washing on the shore of a quiet bay. After catching with oni kudaki and kicking you finish with osoto gake. At that time you should be able to put a wave-like foot movement into effect.”


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TEN CHI (Heaven and Earth)

(U) in Seigan, (T) in Hira Ichimonji(U) right jodan tsuki


Right jodan uke.(U) right jodan tsuki

Left jodan uke.(U) right keri

Step to outside of (U) kick. Left fudoken (U) thigh. This turns (U) around to the left.

(U) comes back to face you, right jodan tsuki Shift to the left, outside of the tsuki using jûmonji dori. Take hold of (U) arm, with the left hand taking hold of (U) wrist and your right hand at

(U) elbow. Pull (U) arm out while keeping it straight. This makes (U) bend forward and step a

little with the left foot. Right keri (U) groin. Drop to the left knee and pull (U) down to the ground.

“This technique is so named because the opponent’s body flies up toward heaven and then falls flat on the ground. Receiving with jûmonji (crossed arms), you lock the wrist and elbow, kick upward and throw by sitting down. What is important is the principle of receiving in jûmonji.”


“That was very good stepping. It contains within it a kiai. It can also be called victorious stepping. It is a most important type of footwork for grappling in armor. Then finally, take the opponent’s arm in jûmonji. Take the arm making a cross. Then pull down. A kick also goes in here. Then finish the technique. Cross hold. Holding firmly so that the opponent cannot escape, pull down while taking the opponent’s elbow. While pulling down, a joint reversal on the wrist and elbow is applied throughout.

In olden times, the blocking method of yoroi kumi uchi was indeed known as dakentaijutsu (hitting fist-body art). Strike upward strongly, destroying the opponent’s blows. This is to disarrange the opponent’s body, to make his center of gravity unstable. Then block in jûmonji, and kick in. From there, proceed to jerk the opponent down. Then drawing the yoroi dôshi (armor penetrating dagger), stab into the opponent’s vital point. Then cut the carotid artery.”

Quote from Hatsumi Sensei’s video.

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KATA NAMI (Single Wave)

(U) in Seigan, (T) in Hira Ichimonji(U) right jodan tsuki


Step forward with the right foot, turn to the left, and strike with a right fudoken to (U) thigh.

(U) right jodan tsuki Grab (U) sleeve with your left hand, and (U) collar with your right hand. Step with the right foot, throw with harai goshi.

“The meaning of the technique is to manage things just as you like. This technique finishes with harai goshi, but the right boshi and the side-to-side body movement are the key points of the technique.”


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KASUMI GAKE (Haze Hook/Mist Bluff)

(U) in Seigan, (T) in Hira(U) right jodan tsuki

Left Jodan uke.(U) right keri

Step forward to the right foot. Turn to the left, right fudoken into (U) thigh.

(U) right jodan tsuki Grab (U) sleeve with left hand. Right hand strikes (U) right shoulder, then moves down to grab (U) right elbow. Pull (U) elbow so that it bends. When the elbow is bent the forearm is vertical. Turn under (U) arm, throw with seoi nage.

Note: The bent arm is the same angle as for musha dori or oni kudaki.

“The technique’s meaning comes from a condition as though a haze had arisen, caused by using metsubushi. The timing in using your right fist to strike the face as a rebounding motion after receiving the kick is important.”


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TATSU NO SE (Rapids of the Dragon)

(U) in Seigan No Kamae, (T) in Hira Ichimonji(U) right jodan tsuki


Left gedan uke.(U) right jodan tsuki

Turn to the right and grab (U) elbow sleeve with the left hand. Turn your hand over to the left and down so that (U) hand rests on your forearm.

(U) grabs your elbow sleeve and steps forward with the left, and the right to the outside of (T) Your right hand comes down and strikes (U) thigh, making (U) release his grab. Switch your grab from the right arm to the left arm. Bar (U) arm vertical to your body. Place your right hip against (U) right hip, throw.

“The meaning is to apply the technique as quickly as a dragon swimming upstream through rapids. The point is the speed of the movement in changing to koshi nage after setting up by locking the opponent’s left arm.”


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SHIO KAZE (Salt Wind)

(U) in Seigan, (T) is in Hira(U) right jodan tsuki


Left gedan uke (U) kaku (knee).(U) left jodan tsuki

Right jodan uke (U) hoshi (inside elbow) or nagare. Grab above the backside of (U) right bicep with your right hand. At the same time,

apply ura gyaku with the left hand. Keri (U) right koe (side of the groin). Drop (U) forward.

Note: If (U) resists and comes back up, knee (U) in the chest or face then drop him forward.

“The technique’s meaning comes from sticking to the opponent like a damp sea breeze. The finish is by breaking the wrist joint, but it is important that in the flow of this series of movements you never move away from the opponent’s body.”


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YAMA ARASHI (Mountain Storm)

(U) grabs (T) collar with the left hand, right jodan tsuki Step back to the left 45 degrees, right jodan uke (U) jakukin (inside middle of bicep). Right hand checks (U) grab from underneath. Ura gyaku with the left hand. Walk under the arm with yoko aruki. At the same time strike (U) butsumetsu with the

right elbow as he passes. Walks behind (U) back, locking his arm behind him. Kick (U) buda (middle of the calf) with the right foot. Step back with the right foot, taking (U) down so that he falls onto his arm, breaking

it.

“The name of the technique comes from its rough appearance, like a tree in a storm. Catching and reversing one-handed, you throw with ippon zeoi to break the elbow. The point is in how you move your feet to enter into the ippon zeoi after taking the lock.”


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YANAGI KAZE or RYU FU (Willow Wind)

(U) grabs (T) collar with the left hand, right jodan tsuki Check (U) grab with the right hand, step back 45 degrees to the right while you left

jodan uke (U) jakukin. Right fudoken or oshu (U) butsumetsu. At the same time as the strike, grab (U) left

arm with your left hand in the same place as the jodan uke. With the right hand grab (U) butsumetsu, bring (U) to his toes, and throw in the same

way as doing omote gyaku.

“The meaning of the technique is to be supple like branches of a willow tree blown by the wind. Circling around behind the opponent and pulling him down backwards, it is his own body that breaks his arm. The point is in how you circle around.”


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TATSU NAMI (Dragon Wanders)

(U) grabs (T) collar with the left hand, right jodan tsuki Check (U) grab, step back to the right 45 degrees, left jodan uke. Grab (U) grabbing hand with your right hand, turn it to the right so that your elbow

locks it open. Step with the right foot and turn so that the knee comes to the ground. Throw (U) to the ground with omote gyaku.

“The technique’s name comes from the image of a dragon wandering this way and that high in the air. Catching the opponent’s arm with one hand you grab the opponent’s underarm, but using only your left arm you might lose in a contest of strength. That is when it is important to use your entire body.”


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TORA-O or KOBI (Tiger’s Tail)

(U) grabs (T) collar with the left hand, right jodan tsuki Step back 45 degrees, left jodan uke. Omote gyaku (U) grabbing hand. Left hand grabs (U) left elbow. Step back with the left foot, left keri (U) yaku, and step through. From the omote gyaku strike from under the arm with the right hand to (U) asagasumi

with oshu (open palm strike), knocking (U) to the ground. Your knee should be on (U) suzu (groin), and the right elbow on dokotsu (Adam’s

Apple), as you roll over (U).

“The meaning of the technique is to wrap around like a tiger’s tail. In this technique you knock the opponent down with ashi sabaki (footwork). It is important to use close distancing.”


“First, take the opponent’s attacking arms in kumi uchi gata. From there, bringing your right hand to the opponent’s right hand, move with the body, take the opponent’s wrist, elbow and shoulder. Upset the center of balance of the opponent’s body. Then, with all your spirit, strike the opponent down. This is an important point.

Against the opponent’s stab with the yoroi dôshi, block and go into a wrist gyaku. The gyaku is applied using the shitoken. Then, using your body, move to push the attacker off his feet. Here one also hits the opponent’s visor to bring him down.”


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JÛGAN (Heavy Rock)

(U) grabs your collar with the left hand, right jodan tsuki Step back 45 degrees to the right, left jodan uke. Apply take ori with the right hand to (U) grabbing hand. With the left hand grab the elbow of (U) grabbing hand. Drop your weight, then come up as if rolling a stone (to (U) arm), knocking (U) to the

ground.

“The meaning of the technique is a heavy boulder that is leaning on something. Sweeping the opponent’s punch past you pin him once, then change your grip and put your body weight onto him to pin him once again.”


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SHIHÔ DORI (Four Way Capture)

(U) right jodan tsuki Left jodan uke to (U) wrist.

(U) grabs your collar with the left hand Your left arm comes up in front of your body, and with the right arm, apply oni kudaki

to (U) grabbing arm. Yoko aruki to the left, move your right foot behind (U) left leg. While stepping back with the right leg and straightening (U) arm, bring (U) to the

ground.

Note: For the take down walk in the direction (U) left leg points. If the oni kudaki fails, change to omote gyaku. If (U) tries to escape, change the technique to yume makura.

“The technique’s name means to move the opponent broadly from side to side. In this technique you lock the opponent’s elbow; after reversing the elbow with oni kudaki you move the opponent to the right, then put your hips in and throw with ippon zeoi.”


31

SABAKI GATA (Lateral Moving Forms/Evasion Forms)

“The Sabaki Gata are for catching weak points to break an opponent’s balance while simultaneously practicing movement which uses the whole body.”


ARA KOMA (Wild Horse)

(U) grabs (T) collar with the left hand, right jodan tsuki Step back, left jodan uke. Check (U) grab with your right hand, turn it into omote gyaku, but hold (U) hand close

to your body. Step in with the right foot, left boshiken (U) shada somi (below the ear). Step back with the right foot, with the boshiken still applied. This pushes (U) to the

ground. Keep the boshiken in place to restrain.

“The meaning of this technique is to send the opponent’s body flying in the same violent way as a horse bucks. Capturing the wrist joint, you break the body’s balance and finish with koshi nage. The koshi nage here should bounce the opponent up.”

Manaka Unsui

32

SHIKA ASHI or KA SOKU (Deer Foot)

(U) grabs with the left hand, kicks with the right foot Check the grab, step to the right, left gedan uke.

(U) right jodan tsuki Left jodan uke (U) hoshi, kick with the right heel to the inside of (U) right knee or calf. Turn the heel over, kick the same area on the left leg.

NOTE: For the final heel kick, keep the hips back.

“Moving lightly, like the way a deer uses its legs. You throw the opponent using the movement of the right leg. After finishing the kick, quickly wrap and catch the opponent’s leg. However, you must not release the hand which is caught with ura gyaku.”

Manaka Unsui

33

CHIKUSEI (Bamboo Sound)

(U) right jodan tsuki Block at (U) wrist.

(U) left jodan tsuki Block to (U) hoshi.

(U) right keri Left gedan uke (U) ankles.

(U) immediately does a right jodan tsuki From the gedan uke, left jodan uke (U) jakukin. From under the arm, strike with a right oshuken to (U) butsumetsu (the right leg is in

front). Grab (U) butsumetsu, bring (U) up on toes, and at the same time grab the flesh on

the upper arm with the left hand. Turns (U) by pressing butsumetsu and pushing the arm. This also makes (U) bend

backward. With the right hip throw (U) with harai goshi. Drop your body weight as you throw. Place the knee into the ribs when (U) is on the ground.

NOTE: Be careful when practicing the harai goshi, as (U) can land on the knee, and break their back.

“Sharply, like the sound of bamboo being split. The way of (using your right) hand is important. Catch, pull, grasp, strike. Perform these four movements rhythmically and use harai goshi to decide the fight at the end.”

Manaka Unsui

34

YUME MAKURA (Dream Pillow)



(U) right zenpo keri Left Gedan uke.

(U) right jodan tsuki Right jûmonji dori. Your left hand takes hold of (U) right wrist, and the left hand takes (U) elbow. Step back and bring the arm into a form of oni kudaki. Change the grab from backward to forward, push on the elbow, and pull on the wrist

so that (U) arm opens straight. Hold (U) arm straight against his chest, fall backward taking (U) arm with you. Roll over (U) back, hold him in ô gyaku.

“This is knows as the pillow of dreams. It is a movement for when one is not wearing armor. Look closely at this. The last fist is also blocked with a cross block. From there, taking the attacker’s wrist and elbow moves into a back throw, but doesn’t work. Then, moving in with dream pillow, one falls down. However, when clad in armor, it is very dangerous for one to fall down. Thus, in the variation for when wearing armor, as can be seen further on, one does not do anything that would make one fall. One moves into a back throw. If it does not work, one cannot, when wearing armor, fall down in this way of one’s own accord.

Kumi uchi with swords. The opponent’s grind their saya. From there, when one’s sword is knocked down, in close combat, the kabuto wari is effective. Deliver a crushing blow to the opponent’s wrist. Then execute a vital point attack on his elbow with the kabuto wari. Then applying gyaku, step back and pull down. Then strike into the opponent’s face using the kabuto wari. When the opponent has been struck down, straddle him, lift his visor, and stab into his throat.”


“The technique’s meaning id doing te makura (resting your head on your hand) so that you will be able to have good dreams. Receive the right punch with jûmonji (crossed arms) and switch from ippon zeoi to te makura. At this point lift up with your left hand. If you do not, you will be choked, so pay careful attention to this.”

Manaka Unsui

35

SUSO SABAKI (Moving the Hem)



(U) right keri Left gedan uke.

(U) right tsuki Left jodan uke. From the block move outside of (U) hand, take hold of (U) wrist in ura gyaku with the

right hand from above. Left hand grabs the flesh on (U) shoulder, your body turns to the right of the arm. Right leg steps over (U) right leg, and you attempt to throw (U).

(U) does not let himself be thrown Counter by stepping back with the left leg and applying pressure to the shoulder

(ryumon) with the wrist, and a take ori moving up and down to break the wrist.

“The meaning of the technique comes from the footwork, which makes the hem of your legwear flutter. Using body movements to the left and right, finish with koshi nage. If your legs stop moving, the technique will not work, so pay attention to this.”

Manaka Unsui

36

ISO GAESHI (Turning Over on the Shore)

(U) right jodan tsuki Left jodan uke (U) kote

(U) left jodan tsuki Right jodan uke (U) hoshi.

(U) right keri Left gedan uke (U) kaku.

(U) right jodan tsuki Right fudoken (U) kaku.

(U) right jodan tsuki Left jodan uke (U) kote. Right hand applies omote gyaku from the fudoken, from underneath (keep the omote

gyaku close the body). Walk in with the right foot, put your right elbow on top of (U) right elbow. Step out with the right foot, press down with the right elbow, dropping (U).

“The technique’s meaning is tossing forward and back the way waves batter against a shore. With large body movements to the left and right, toss your opponent atop a wave and in the end decide the fight with koshi nage.”

Manaka Unsui

37

KAZE HARAI or FU SHOKU (Wind Sweep)

(U) grabs with the left hand, strikes with the right Place your right palm under (U) elbow, press up, left jodan uke to (U) jakkin or

wakiboshi.(U) right keri

Your hand moves from the elbow to (U) hand, gedan uke.(U) right jodan tsuki

As (U) strikes you change from a right to a left ura gyaku, strike with the right elbow to (U) uko or butsumetsu.

Walk under (U) arm (still keep ura gyaku) until you are behind (U). Place your right hand on (U) shoulder. Sokushi keri (U) buda.

“The meaning of the technique is to blow the opponent away in a single gust of wind. It is a technique in which, attacking the wrist joint, you finish with katate nage (a one-handed throw). Your body position when doing katate nage is important. You must not move away from the opponent.”

Manaka Unsui

38

KURUMA DORI (Wheel Capture)

(U) grabs your collar with the left hand, strikes with right jodan tsuki Check (U) elbow, push up on it, do left jodan uke. Right keri. Change from an elbow check to a hand check, left gedan uke.

(U) right jodan tsuki Left jodan uke, grab (U) wrist. Step across to left with right foot. Right hand comes under (U) grabbing arm, so that the shoulder or right bicep

presses against the elbow. Apply pressure in this way to drop (U).

NOTE: Do not let the grabbing hand turn or you could lose control.

“The name of the technique means to spin an opponent list a wheel and throw him. Using a wrist reverse to break balance put your hips in deep enough then throw the opponent like a wheel. It is important to pull sideways on the wrist which is reversed.”

Manaka Unsui

39

KIMON (Demon Gate)

(U) in Seigan, (T) in Hira No Kamae(U) right jodan tsuki



Left gedan uke.(U) left jodan tsuki

Right gedan uke. Immediately after the last block, apply musha dori to (U) left arm. Spin around onto left knee, drop (U) onto back.

“The meaning of the technique is a throw from a hated, detested direction. Locking the elbow joint, throw with muso dori. At this point it is important to open the body up.”

Manaka Unsui

40

URA KIMON (Inside Demon Gate)

This starts the same as Kimon, but with two kicks, then left jodan tsuki Immediately apply right oni kudaki to (U) left arm, kick with the right foot to (U) groin. Finish with osoto gake or nage.

“The meaning of this technique is the same: to throw from a hated, detested direction. Catching the elbow joint as in oni kudaki, you throw with osoto gake. The relation between the right and left hands is important.”

Manaka Unsui

41

UKI MO (Seaweed/Floating Algae)

(U) in Seigan, (T) in Hira No Kamae(U) right jodan tsuki



Left gedan uke.(U) left keri

Right gedan uke.(U) right jodan tsuki

Left jodan uke. Immediately apply oni kudaki to (U) right arm, kick with the right foot to the groin Grab (U) collar with the right hand, turn and throw with seoi nage, or apply a shime

waza.

“This technique’s meaning is to throw the opponent lightly and without effort, like seaweed floating on the water’s surface. Catching the elbow on the principle of oni kudaki, end by throwing with gyaku seoi nage.”

Manaka Unsui

42

RANPÛ (Disordered Wind)

This starts the same as Uki Mo Apply oni kudaki to (U) right arm, kick with the right foot into (U) groin. Grab (U) in kumi uchi, throw with seoi nage. While (U) is still in the air, step from

under (U) for taki otoshi.

“Settling something once then twice, like a wind that is indecisive and changes direction. As before, lift the opponent onto your back then put your right knee down and put him on your back again.”

Manaka Unsui

43

OKUDEN NO KATA (Inner Transmission Forms)

FÛ SETSU (Wind and Snow)




(U) left keri Strike with a fudoken into (U) leg.

(U) right jodan tsuki Block with jûmonji dori, apply oni kudaki. Straighten (U) arm, go underneath counter-clockwise (take hold of (U) shoulder with

the left hand). Kick with a right kakato keri to (U) inside right thigh, then step back with the right foot

to throw (U) face down.

44

GONGI (Authority Technique/Power Technique)




(U) left keri Punches with fudoken into (U) thigh.

(U) right jodan tsuki Jûmonji dori to (U) right arm, apply oni kudaki. Right kick to (U) groin. Places your right foot between (U) legs, drop to your left knee, pivot on it to the left,

throwing (U) with the oni kudaki still applied.

45

KAESHI WAZA (Reversing Technique)




(U) left keri Strike with fudoken into (U) thigh.

(U) right jodan tsuki jûmonji dori, apply oni kudaki. Switch this to musha dori. Kick backward with right kakato geri to (U) stomach. Drop your foot down, spin around to the right (going down) while applying shime

waza.

46

ONI OTOSHI (Demon Drop)




(U) left keri Strike with fudoken into (U) thigh.

(U) right jodan tsuki Jûmonji dori, apply oni kudaki, which is then changed to musha dori. Kick with the shin to (U) groin. The same leg throws with osoto nage.

47

IWA KUDAKI (Breaking Rocks)




(U) left keri Strike with fudoken to (U) thigh.

(U) right jodan tsuki Left jodan uke, right chinken (U) face. The left hand at the same time grabs (U) wrist. Place your hips near (U)’s, throw with osoto nage.

NOTE: Slam the hips in hard!

48

SETSUTÔ (Snow Topple)





(U) right jodan tsuki Left jodan uke, grab (U) wrist as your right hand strikes with fudoken into (U) right

bicep. Right shin kick to (U) groin. Push (U) arm in and down while grabbing the shoulder with the right hand. Step back with the left foot, and down to the knee, pulling (U) with you.

49

GÔTÔ (Defeating Strength)





(U) right jodan tsuki left jodan uke, grab (U) wrist. Grab (U) right shoulder with your right hand. Step in and under, knocking (U) up with a hip strike, then step out to the left so that

(U) falls.

50

DOFÛ (Wind Catches)





(U) right jodan tsuki Left jodan uke, grab (U) wrist. Keep (U) arm straight while you strike with right ura shuto (U) kasumi. Kick with the shin to (U) groin, continue the foot through between the legs, hooking

(U) furthest leg upward.

NOTE: Grab the shoulder with the right hand, and push while sweeping the foot away. (U) right palm must be up to stop the arm from hitting you.

51

ONI KUDAKI (Breaking the Demon)





(U) right jodan tsuki Jûmonji dori, apply oni kudaki. Shin kick to (U) groin, place it behind (U) right leg for osoto gake.

NOTE: For the final throw, turn to the left. Be careful. This is almost exactly the same as Ura Nami from the chuden no kata.

With yoroi kumi uchi body movement, take the opponent’s right punch into oni kudaki. Take if from jûmonji. From there, by maneuvering the body and moving the legs, make the technique effective. Take a powerful hold on the opponent’s elbow and shoulder joints. Then take down.

In spear fighting, when you have knocked down the opponent’s spear (with a strong blow) and he goes to draw the sword, crush his wrist by hitting with the spear. Taking out his wrist and right arm, take the right arm into oni kudaki with the spear as a fulcrum. When you have brought the opponent down, look for an opening and thrust in.

Taking the opponent’s arm with the spear, apply oni kudaki, then push with the body.”Quote from Hatsumi Sensei’s video

52

RYÛ FU or YANAGI KAZE (Willow Wind)





(U) right jodan tsuki left jodan uke.

(U) Grabs you and attempts seoi nage Drop your hips, and strikes (U) with boshiken to shichibatsu. Jump around to the front of (U), strike with the right elbow into (U) chest. Take hold of (U) left arm with your right hand. Your left hand comes up under (U) right arm, grab (U) collar. Go under (U) right arm, throw with nagare. Kick (U) when he is down.

53

TACHI UCHI (Standing Strike)






(U) grabs you and attempts to throw with seoi nage. Drop your hip and strike with boshiken to (U) shichibatsu. With the boshiken, push (U) away and go behind (U), grab the flesh at butsumetsu. Turn and throw (U).

NOTE: For the butsumetsu grab, dig the thumbs in. Throw from the side so (U) will not fall off. Beware of this technique, as the throw will break the neck.

54

HANE TAOSHI (Leaping Knockdown)





(U) right jodan tsuki Left jodan uke

(U) grabs and attempts seoi nage. Drop the hips, boshiken (U) shichibatsu.

(U) turns to face you Ryote koppoken (U) uko. This makes (U) arc his back. Throw with osoto nage.

55

SHIRABE MOGURI GATA (Sinking Forms)

MOGURI DORI (Submerging Capture)


(U) grabs your blocking wrist Step in with right keri. As this comes to the ground, step in with the right foot and right

ura shuto to uko. Place your right foot behind (U) right foot, and placing the hips together, throw (U).

56

SHARIN (Axle)

(Defense against Moguri Dori.) Uke becomes Tori, and vice versa. As (U) places hip to throw, push your right thigh up under (U) thigh.

(U) right hand then comes up to your neck, and the left goes around the back to grab your left shichibatsu

Drop to your left knee, pulling (U) over it, using the hands to help.

NOTE: For this technique to work properly, (U) and (T) must be in a straight line.

57

KO FUKI (Tiger Takedown)

(T) in Hira No Kamae, (U) in Seigan No Kamae(U) right tsuki

Left jodan uke (U) ura kote.(U) left jodan tsuki

Block to hoshi, komi hiki (U) ude. Takes (U) right yubitsubo, right shakoken (U) asagasumi. Shitanken (U) kuchi. Right sokugyakuken (U) suzu. Throw with osoto nage.

58

RYÛ FUKU or RYU BUSE (Dragon Takedown)

(U) right Jodan tsuki Left jodan uke.

(U)left jodan tsuki Right jodan uke, grab (U) collar with your right hand (with a right step forward), left

hand grabs the right sleeve.(U) grabs you in the same fashion and attempts to throw with seoi nage

Drop your body weight, right fudoken (U) groin. Right fudoken top of (U) right thigh, at the same time left fudoken back of (U) ribs. Pull (U) into a standing position Grab (U) left bicep with your right hand and (U) right bicep with your left hand. Kikakuken (U) chest. Right leg goes inside of (U) legs, hooking back on the left leg, pushing (U) to the

ground.

“Look at this as the sui no kata dakentaijutsu of yoroi kumi uchi. Completely block the first and second strike. When the opponent comes in for a hip throw, drop your hips to avoid his throw and strike into his hips. Then, clipping the legs and hitting into the face, take down. Against the opponent’s throw, drop the hips and strike in. It is most important here to strike into the opponent’s torso. Taking hold of the torso, one may also pull him down.

Kumi uchi between sword and naginata. Look at this also with taijutsu as the base. Come in against the opponent’s cut and take his naginata. Then strike into the opponent’s vital points with the butt of the sword. Then apply gyaku to the opponent by moving up with the sword from below, destroying the balance of the opponent’s body. Pushing with the body, take out the opponent’s legs and push him down.”


59

TOBI CHIGAE (Walking Jump)

(U) right jodan tsuki Left jodan uke. Move to outside of (U), do another jodan uke (right) to the back of (U) hand. Steps on (U) right foot with your right foot. With (U) right arm away from you (across the front of (U) body), strike with a right

boshiken to (U) butsumetsu.

60

YAMA OTOSHI (Mountain Drop)

(U) right jodan tsuki Left jodan uke, grab (U) wrist. Place your right hand on (U) left shoulder and push your thumb into (U) neck. Turn your right hand into shakoken (U) face. Step behind (U) right leg with your right leg. Throw (U), keeping hold of the wrist with your left hand.

61

TÔ RAKU (Strike Down)

(U) holds you in kumi uchi (left hand holds the collar) Check the collar grab with your right hand, hold (U) arm with your left hand. Step to the right, drop your right hand down under (U) left arm. Right hand comes up and the palm is placed under (U) elbow. Yoko aruki to the right, left hand grabs the bicep of (U) left arm. Step back with the left foot, drop to the left knee, pulling (U) down onto his front.

62

SHÔ TÔ (Dissolve Hitting Down)

(U) in Seigan, right jodan tsuki Block to (U) ura kote.

(U) counters this block by also blocking to your hidari ura kote with the left hand Grab (U) collar with your left hand. Osoto nage.

(U) tai otoshi to counter with a front koho sabaki.(U) right age fudoken to your left doki, right age happaken to asagasumi.

Counter block to (U) ura kote, right fudoken (U) kage.

63

MUSASABI (Mongoose)


(U) counters by moving his right arm under your left arm for ganseki nage. Right boshiken (U) right koe.

(U) steps out with the right leg to escape the boshiken Grab (U) right wrist with your left hand, right shoulder with the right hand. Migi geri (U) suzu. From the kick, place the right foot on (U) right knee (inside). Pull (U) wrist, push (U) shoulder, kick (U) leg away for uchimata.

64

TAMA NAGE (Jewel Throw)


(U) continues his tsuki by moving his right arm under your arm for ganseki nage. Counter by striking (U) right koe with right boshiken.

(U) steps out with the right foot to escape the boshiken Grab (U) right wrist with your right hand from underneath into omote gyaku, grab (U)

right elbow with your left hand. While putting pressure on (U) elbow, change the omote gyaku to ura gyaku, grab top

of (U) breast bone with your right hand. Step behind (U) right leg for osoto nage.

NOTE: If changing the hands is too risky, throw instead with gyaku nage.

Against – migi tsuki Move back low, block and grab with left hand (moving right leg slightly/half step

forward).(U) reacts by taking ganseki nage

Push forward with your left knee into (U) right leg (rear). Take a slight step with your right foot, hit upward to avoid. Go under flaps/skirt of armor, strike right koe with your right fist.

(U) moves back with right leg Catch (U) straightened right arm inside your left arm, ride your right arm up under (U)

armor to grab his right shoulder. Move around (can use yoko aruki) and turn (U) right arm out (little finger upwards -

ura gyaku, but not to be confused with the lock). Use right foot behind (U) right leg to hook back and around clockwise in ura

mawashi-type action, 90 degree into horse stance type position (keeping low because of wearing armor. This throw is called makikomi harai).

Kneel on the right side of (U) face/neck while still holding (U) left hand.

HENKAAs you go to throw with makikomi harai, (U) stiffens or drops his weight to prevent you from throwing. Hit up with rotation of right forearm through hips (turn counter-clockwise) and knees to hit twice as you go down on your left knee (backward) to throw/knock (U) backwards.

65

GYAKU NAGE (Reverse Throw)

(U) right jodan tsuki Left jodan uke. Immediately grab (U) wrist with your left hand and the right shoulder with your right

hand. Attempt to kick (U) in suzu.

(U) as (T) does this (U) left jodan tsuki Step back with the right foot (from the kick), right gedan uke. Grabs back of (U) right hand with your right hand. Left shitanken (U) face.

(U) now has his right hand free, and blocks with right jodan uke(U) right jodan tsuki

Left jodan uke, grab (U) wrist with your left hand. From the left wrist grab, shitanken (U) jinchu. Place your right leg behind (U) right leg for osoto nage.

66

UCHI HARAI (Sweeping Strike)

(U) right jodan tsuki Left jodan uke, followed by shitanken to (U) face. Step forward with the right foot, shitanken (U) face. Right zenpo keri.

(U) left gedan uke, right jodan tsuki Left jodan uke, shitanken (U) face. Quickly step forward with right foot, fudoken (U) butsumetsu. Right arm moves under (U) left arm, left hand grabs (U) right arm. Right foot goes behind (U) right foot, throw (U).

“This is called uchi harai. Imagining that you are wearing armor, strike at the gaps in the armor with the ridge of the hand. Or, punch or kick. In all cases, it is crucial to attack the gaps. In this way, attack the face and mouth with the shitoken.”


67

kukishinden ryu dakentaijutsu

Documents

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dakentaijutsu yoroi

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kukishin ry densho

kishin tosui ry

demon52ry fu

kanja yoshiteru