KIHON HAPPO GATA _____ 2

KIHON HAPPO GATA 基本八法型 Eight fundamental basics ways Kosshi Kihon Sanpo 骨指基 本三法, and the Honshu (Torite) Goho 本手基本五法 together are called "Kihon Happo" 基本八法. You must train in these techniques well. If you do the Kihon Happo correctly, everything is going to be right. Knowing the Kihon Happo can make everything work. Their is no right and no wrong way to do the Kihon Happo. Hatsumi once wrote “Master Takamatsu once told me, “When Master Toda Shinryuken taught me the basic forms of the finger bone usages of the Gyokko Ryu, he gave me the eight principles associated with them. Master Toda told me that these are the foundation of all Budo. I wholeheartedly agree to that Mr. Hatsumi, I will tell you the same principles. Use these eight principles when you teach your students. These eight basic principles are requirements for these who want to master true fighting techniques. Your mastering of these principles affects the outcome of all types of fighting and enlivens one’s skills. They are, in a way, the source of power, which would lead you to being a successful Budoka. Let me give you an example. My student Mr. Manaka, recently used two of the principles in a contest. He used the one that is best used in the throwing of Shuriken, for use in shooting a gun, and he scored 90 out of 100. He then used another of the principles, that of Ichi no Kamae, to shoot a rifle. With this he scored 100 out of 100. The eight basic principles should be interpreted as the basic mind training principles. Where and when you put in your full strength is the basis of any fighting technique. The eight basic principles include the basic forms of Ichimonji no kamae 一文字の構, Hicho no kamae 飛鳥の構, Jumonji no kamae 十文字の構, Omote Kote Kata 表小 手型, Ura Kote Kata 裏小手型, Omote Gyaku Ken Sabaki Kata 表逆拳捌型, Ude Shime Ashi Ori Kata 腕締足折型 and the capturing form of Ganseki Kata” 巌石投. (Special Note: These are the names for the kata as they appear in the book Togakure Ryu Ninpo Taijutsu by Hatsumi Sensei. In the Tenchijin the first 3 kata have the same names but the last five are just numbered and not actually named. The names used in this version of Ten Ryaku no maki are the ones commonly used today. The forms for each of these kata are still the same today as they were in the original Ten Ryaku no maki, nothing has changed, the names are just from a different reference) Koshi Sanpo・ Torite Goho is said to add up to the Kihon Happo kata , one after the next study the resources and this Kihon Happo kata correctly because etiquette (gire) in warrior matters in training and declaring again these fundamental (Kihon) skills the Happo (eight principles), it is said the process produces.

KOSSHI KIHON SANPO 骨指基 本三法 Kosshijutsu's three fundamental ways (Gyokko Ryu Moto Gata 玉虎流木型)

1.

MIGI ICHIMONJI NO KAMAE 右一文字の構 Right Figure one posture

For this Kata the Gyokko Ryu version Of Ichimonji no kamae should be used rather than the one from Koto Ryu which is more commonly used. Note:  The energy for the strike comes form the elbow. If you try use power for the Shuto from the shoulder then there is a chance you will dislocate it.  From Gyokko Ryu and Koto Ryu Ichimonji, turn the hand over in front of the face to bring it in for the Omote Shuto.  Koto Ryu drive it in so that the strike is in and forwards knocking him back. Koto Ryu is to strike in with a more forward movement of the side of the hand.  Gyokko Ryu is to knock him back and down. Gyokko Ryu is to chop it in with the side of the hand.  Kukishin Ryu will use a bigger movement. The hand is lifted level with the head and brought in striking forwards. Because of the use of full Armour. You will also need to make wider steps when doing it in Kukishin Ryu style. With the hand coming around with the step, the focus is still on the elbow. The hand also makes a wider angle than the more direct approach of Koto Ryu and Gyokko Ryu.  Sink the knees down as you strike.  The difference is in the intention and the direction of the attack with the Shuto.  All basics are identical in the way that they move around the elbow.  The Shuto makes use of small but powerful movements.  Each school will stress the use in a different way. 2.

MIGI HICHO NO KAMAE 右飛鳥の構 Right flying bird posture

Note: Apply the movements of both Ku no Kata and Ka no Kata. Distancing. Move further away for large people. Guarding. After the Gedan Uke the same side elbow guards against his rear hand attacks. 3.

MIGI JUMONJI Right figure ten

右十文字

Note: Movement - Move with your knees, low, and slowly to keep good form. When doing solo Kata, stay in same place. Distance is important, shift when you move. Hit with the body no the hand (Shito ken). Apply Fu no Kata. The step back and turn is called Hon no Kamae HONSHU KIHON GATA GOHO 本手基 本型五法 Torite Kihon Gata Goho 捕手基本型五法 Five basic methods of hand escape forms Torite Kihon Gata 捕手基本型

Five forms for hand captures (Gyokko Ryu Torite Kihon Goho Gata 玉虎流基 本五方型) Note: In the original Japanese Tenchijin Ryaku no maki, the kata from here on are numbered 1 – 5. They do not have names. Today the Torite Kihon Gata has names for the 5 forms, Omote Gyaku, Omote Gyaku Henka/Tsuki, Ura Gyaku, Musha Dori, and Ganseki Nage. Learn them by these names listed here. 4.

OMOTE GYAKU 表逆 Outside twist

Note: The point of Omote Gyaku is to keep his arm straight. If it is bent he can bend it more and move in towards you. This type of look is known as ‘Kote Gaeshi’小手返 and is of no use in Kosshijutsu/Ninpo Taijutsu 骨指術/忍法体術.    

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6.

First it is important if you just lightly grab the hand. Just gently hook it. This will not direct their attention to your taking the hand. Look at your opponent at all times. As you step back the heel of your hand pushes up a little bit. The helps to start the twisting of the wrist and also start to break his garb to your lapel. A little help may be required form the thumb to aid the release. Bring the elbow into contact with the opponents elbow as you step backwards. When you step back the elbow can lift his elbow slightly to help open it. Once opened it will keep it locked open. A straight arm is a special characteristic of Omote Gyaku. Always be aware that he can punch you at anytime. The footwork is there to guard you against possible kicks. When the other hand comes across to also taking a hold of the grabbing hand, it passes in front of the face. Have the fingertips point into the eyes. This will make them uneasy as they will wish to protect their eyes, and also you can jab them there if they move in towards you with an attack. The hand comes across the eyes at the same times as you step forwards, and is aided with the turning of the hips. Hand, Hips, Feet move together. This is important. You must not use only the arms and legs. Once the hands come together you must keep moving. Do not stop just because you have got this far. Keep the momentum generated form the movement of the hips, walk, turning the hand over taking him down. If you do not let the movements from one to another, then you will find everything hard work. URA GYAKU 裏逆 Inside twist

Note: Raise the right hand as you would in Omote Gyaku. If you throw it is Ura Gyaku Dori. There are many ways of doing this

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The hand holds the grabbing hand gently. Do not grab on tight at the beginning with either hand. The other hand comes across to take hold of the hand also. Lift the elbow to maintain a guard against any possible punch. The first hand gently pushes the grabbing hand by turning the heel of the palm in a circular motion to aid the release, turning his hand so that the fingers of his hand point outwards. Push and twist it off. Both elbows should be lifted in a position to guard you once you have removed his grabbing hand. Turn the wrist over as you walk to take him down. When the hand has been turned over for Ura Gyaku, this is the time to walk. Grab hold of the hand tighter. Walk with Yoko Aruki. The direction of the hand in Ura Gyaku is important. When you turn the hand over in Ura Gyaku, this is not enough. Twist the hand also so that the thumb starts to point along the line of the arm. Now the wrist and hand are twisted MUSHA DORI 武者捕 Warrior capture

5.

Note: For the arm lock, Toris arm must be just above Ukes elbow. Do not interlink the fingers, as this is dangerous to Tori. Cup the hands. GANSEKI NAGE 巌石投 Rock throw (Shindenfudo Ryu Dakentaijutsu)

8.

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You should be able to do this on either side. At the start pull back with the arm you wish to take. This will help offset his balance. Slide the legs back between his legs to throw him. Turning the hips is very important when you actually throw. Hold the head up to stop his arm sliding over it when you throw him. Keep the lock on the elbow at all times during the throw. This lock provides the leverage to throw him. Brace the arm at the elbow or just below the elbow (forearm) to maintain the lock. For the lock have your own forearm almost vertical when you apply it. This will make it stronger and more painful for him. Do not lay your arm over his arm. Keep the upper body straight. Even if you have bend over keep the back straight. Your strength is in the back. Twist the upper body from the hips when you throw. The palm of your hand faces in the direction you wish to throw him. You control him with your arm movements

Note: Ganseki Nage is from the Shindenfudo Ryu Dakentaijutsu 神伝不動流打拳体 術 . In the past Kukishinden Ryu Oni Kudaki 九 神 伝 流 鬼 砕 has been Used. The Gyokko Ryu has Jigoku Dori 地獄捕 in place of Ganseki Nage.

OMOTE ONI KUDAKI 表鬼砕 Outside destroy the devil

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Cover the hand at the start (if a collar grab). Then when you step in, slide the hand over the wrist. Hen you step in pin his knee with your lead leg (knee). Distance is very important. When you apply the lock step back for greater leverage. The hand by the wrist must be palm up. This is important. It is not as effective if the palm is not facing up. When you step in at the start it is sometimes more effective to slam the elbow into the ribs to weaken him. In training too much power can cause serious injury to the shoulder or elbow or even both. It is possible to dislocate them. When you step back to apply the lock, drop him where the rear foot had been prior to the step. If he attempts to punch drop down on the rear knee. The direction of Oni Kudaki is also to be decided by the direction that the bones in the arm are pointing once the arm is locked. You can change the direction you wish to take them down by moving him or the arm. If you move him in the direction of the bones then the lock will be some much more effective.

KYU KAMAE 九 構 Nine postures The upper half of the body the "force is taken out" (relax); in kamae force resides in the lower half of the body, tai kamae (tai - body) (Designate/summon the nine kamae)". As referred to as the optimum attitude for martial artists 1.

FUDOZA (A.K.A. Za Kamae) 不動坐 (坐構) Immoveable seat posture (Shindenfudo Ryu Jutaijutsu)

Sit on the heel of the left foot, and have the sole of the right foot, tucked into the calf of the left leg. Kuden: There may be differences arising from the combinations of left and right, but ‘Za’ (seat) refers to an attitude with the spirit of Kongo Fudo is of primary importance.

a) b) c) d) e) f) g) 2.

Hidari Kamae (left) Migi Kamae (right) Taihenjutsu while seated Action using Goshin (Satori) Kihon Happo Honshu Kihon Gata, Kosshi Kihon Gata Henka SHIZEN NO KAMAE 自然の構 Natural posture (Shindenfudo Ryu Jutaijutsu)

Feet shoulder width apart, with both hands, palms back against the hips. Note: It is important to assume a feeling of being totally natural with nothing fixed. a) Relax the upper body. Let the lower body remain free b) Roppo no Kamae (6 ways of doing the kamae), Jodan, Chudan, Gedan no kamae. Also called Roku, San, and Juhachi Kata (6, 3 and 18 forms). These high, middle and low levels are also called Tenchijin Ryaku no kamae. c) Taihenjutsu d) Do the motion of Satori e) Kihon Happo f) Honshu Kihon Gata, g) Kosshi Kihon Gata Henka 3.

HIRA ICHIMONJI NO KAMAE 平一文字の構 Flat number one posture (Kukishinden Ryu Dakentaijutsu, Shindenfudo Ryu Jutaijutsu)

Stand with the knees bent with the feet facing slightly in. The arms are out stretched to the side of the body held at shoulder height.

Note: In the Kukishinden Ryu, the hands are in Shikan Ken so that the fingers will not get cut off. Also it is almost impossible to make a Fudo Ken wearing armour. In the Shindenfudo Ryu the hands are open.

Kuden With both hands open and spread out to the right and left, your eyes stare into the opponent's eyes. A different variation also exists in the Koto Ryu. Giving it this name and making it a kamae of space is also an expression of the oriental, horizontal consciousness.

a) b) c) d) e) f) g) 3.

Roppo no kamae (6 ways posture). This kamae is done is 6 ways left to right Taka no mai (Dance like a Hawk) Taihenjutsu Obtain Goshin 悟心 (perceiving mind) changing to attack Kihon Happo Honshu Kihon Gata Kosshi Kihon Gata Henka ICHIMONJI NO KAMAE 一文字の構 Figure number one posture (Koto Ryu Koppojutsu)

The left leg is forward, and slightly bent. The left arm is straight out pointing at Uke, and the hand is open. The right hand is in Shuto, and is held above the left bicep with the palm face towards the face. Note: “Facing the opponent, spread you feet and lower your hips, pointing a right Shuto at your right shoulder. Ichimonji no Kamae, has the rear hand in Shuto. Point your right fingertips at the opponent’s eyes and, with the feeling of using your will to make him do as you wish, stare into the opponent’s eyes.” "In Koto Ryu" for Migi Seigan, your hand is placed in front of you, pointing at the adversary, and the left hand is placed in such a way that protects you from potential attack. Even though this is Migi Seigan no kamae, in reality your mind and heart can assume Kage no kamae (Shadow position), which can be Ichimonji no kamae, Hoko no kamae etc. You are ready for any type of attack. Since this is called Kurai Dori, foot positioning becomes very important, and is crucial for proper distancing. This will help freedom of movement. The Jodan Kamae is standing straight up, the middle kamae is as in Kata Ichimonji no kamae. And the Gedan kamae, means left or right crouching tiger using Moguri Gata. Placing the knee on the ground make this a kamae for avoiding the line betweens one’s kyojitsu kamae – a variation of Moguri Gata, and the opponents heart and mind, and letting it flow past. Kuden: “Facing the opponent, spread your feet and lower your hips, pointing a left Shuto straight forward and keeping the right Shuto at your left shoulder. “Facing the opponent, spread you feet and lower your hips, pointing a right Shuto at your right shoulder. Point your right fingertips at the opponent’s eyes and, with the feeling of using your will to make him do as you wish, stare into the opponent’s eyes.” a) Point at the opponents heart, hit at the heart from a distance (Toari ate 遠当) b) Sayu (left and right 右左) no Kamae, Jodan 上段, Chudan 中段, Gedan 下段. Jodan is standing up. Chudan is like Ichimonji, Gedan is to put the right or left knee on the ground. The thing is, the knee is placed on top of the ground . Since this helps one to do a variation on Moguri Gata 潜型 [crouching form]. c) Taihenjutsu d) Obtain Goshin (Satori) e) Kihon Happo h) Honshu Kihon Gata, i) Kosshi Kihon Gata Henka

5.

DOKO NO KAMAE 怒虎の構 Angry Tiger posture

Similar to Ichimonji no Kamae, except the body does not lean backwards, and the right hand is held above the head, and the right hand is in Fudo Ken. Note: Using the kamae left and right (Sayu), use Toate to destroy your opponents eye’s. This kamae contains the preparedness to become like an angry tiger, and also to be aware of the nature of the angry tiger. a) There is a left and a right Kamae b) Hit from a distance at the enemies eyes c) Jodan, Chudan, Gedan. d) Taihenjutsu e) Obtain Goshin (Satori) f) Kihon Happo g) Honshu Kihon Gata, h) Kosshi Kihon Gata Henka 6.

HICHO NO KAMAE 飛鳥の構 Flying bird posture (crane) (Gyokko Ryu Kosshijutsu)

The left hand is held out in front of the body in the direction of Uke (left to left). The right hand is clenched in Shito Ken, is placed slightly hidden on the inside of the left elbow. The sole of the left foot rests on the top of the right calf muscle. The left knee faces Uke. Note: Practise killing the opponents technique. Practise stamping down to crush the instep of your opponent. Use the leg in front to follow up and strike, and use the hand/fist to strike and crush the top. Practise taking the opponents foot. Taking the foot means seeing the passage of life between heaven and earth (Tenchi). Also try hitting at his Koe with Shuto. Kuden: The left foot points 90 degrees to the side, the right foot’s arch is rested lightly against the left knee, and the right and left hands face the same as in Ichimonji No Kamae. Stare at the opponent’s eyes with the feeling of storing up energy in the entire body, like a bird wrapped up by a snake. This is the attitude that protects the

freedom of 'Ohzora ni mautanmashi' (Sky dancing spirit).The kanji for Hicho can in the ancient form be read as Asuka. The area around Takamatsu’s home in Kashihara was known as Asuka. Asuka is also a name for one of the old periods of Japanese history, it also means ‘old kingdom’. a) Left and Right b) Make the opponents techniques fail to work, use the front leg to follow. Practise killing the opponents technique. Practise stamping down to crush the instep of your opponent. Use the leg in front to follow up and strike, and use the hand/fist to strike and crush the top. Practise taking the opponents foot. Taking the foot means seeing

the passage of life between heaven and earth (Tenchi). Also try hitting at his Koe with Shuto. c) Taihenjutsu d) Do the motion of Goshin (Satori) e) Kihon Happo f) Honshu Kihon Gata, g) Kosshi Kihon Gata Henka 7.

HOKO NO KAMAE 抱圍の構 Bear receiving posture (Koto Ryu Koppojutsu)

The left foot is slightly forwards, and the body is very upright. The hands are held above the head in Shako Ken. The whole posture looks as though you are holding a large ball. The weight ratio is 70/30 forwards. Make yourself look big. Note: Make yourself look bigger". You are showing yourself to the enemy, and saying "I will protect myself no matter what". When some animals meet their enemy, they threaten the enemy by making their body look bigger than what it is. This posture is good for a small person, and the attitude for this posture is, "I will defend myself no matter what happens, attack whenever you want". Your centre of gravity is balanced in the air. This is said to be a kamae that wraps up your opponent’s movements, or where my movements envelop and surround the opponent. Kuden: “Lower your hips, hold both hands in Shuto and raise them a little higher than your face, spread your feet and take a posture of jumping in. Stare into the opponent’s eyes with a strong feeling of either driving back any attack from any direction or of hugging and crushing.” a) Roppo (six ways) b) Juhachi kata no kamae (18 form postures) c) Taihenjutsu, walk sideways (Yoko Aruki 横 歩 き ), also called Kaiko 蟹 行 (sideways walking) / Kani Aruki (crab walking) d) Obtain Goshin – the enlightened spirit. Practise kicking with both legs (Keri Komi 蹴り込) e) Kihon Happo h) Honshu Kihon Gata, i) Kosshi Kihon Gata Henka 8.

KOSEI NO KAMAE 攻勢の構 Aggressive energy posture (Kukishinden Ryu Dakentaijutsu)

The left hand is in Shikan Ken above the eyes. The right hand by the heart in Shikan Ken. Stare at Uke’s eyes. Note: Attack is sometimes the best for of defence, but it is important to know kamae rules. Knowing the principle that attacking a castle kamae, requires many times the

power. One should use this heart Kamae (Kokoro gamae 心構え – attitude, also read as Shin Gamae 心構え) to make kamae, battle line kamae and human kamae Kuden 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. All so known as Kogeki no Kamae. a) b) c) d) e) j) k) 9.

Left and right (Sayu) Jodan, Chudan, and Gedan Taihenjutsu Do the motion of Goshin (Satori) Kihon Happo Honshu Kihon Gata, Kosshi Kihon Gata Henka JUMONJI NO KAMAE 十文字の構 Cross letter posture (Gyokko Ryu Kosshijutsu)

The left foot is slightly in front of the right foot. The arms are crossed at the wrists with the left in front, at chest height. The hands are in extended Shito Ken.

Note: This kamae has three changes left, right, and centre. The Juji helps you make peace with the enemy. It is a kamae to see the heart, a kamae with a quest fro life, with a kamae for treachery. An example of the treachery is if you allow Kuji 九字 do not allow Juji 十字. An Ura Waza of this is to drop the body weight so that the knees are almost bent at 90 with the feet side by side. Kuden: With the right hand in front, the arms are crossed in front of the chest in an X-shape, without touching each other and both hands gripped lightly, and the chin should peek out through the top of the cross. The left leg is pulled back a little from a natural standing position and the hips are lowered. Fill yourself with intent, and stare at the opponent’s eyes with the feeling of driving back any attack. a) Left 左, right 右 and centre 中心. Do henka from all three kamae. b) Jodan, Chudan, and Gedan c) Taihenjutsu d) Do the motion of Goshin (Satori) e) Kihon Happo f) Honshu Kihon Gata, g) Kosshi Kihon Gata Henka TAIHENJUTSU MUTODORI NO KATA 体変術無刀捕の型  Body movement defence against swords

Kuden: “These are for practising the Gyokko Ryu’s basic ways of moving the body.” “An essential point or foundation of Taihen 体 変 is to first measure the distance between you and the opponent’s sword. Then, it is to know the character of the opponent’s weapon. The next thing is to avoid the opponent’s weapon, to avoid the sword. It is important to avoid, not dodge it. Otherwise, it will hit you. Avoiding is most important. Here it comes. The sword hits. One must avoid it. Here it comes. Avoid. This is important. First measure the distance between you and the opponent with respect to the sword, Taihen Kihon. Then, as you raise the sword over your head in Jodan and strike in, about the first 3 inches of the sword tip will hit the opponent’s forehead. Taihenjutsu training move here.” 1.

HIRA NO KAMAE 平の構 Flat stance

Uke is in Daijodan with a Katana. Tori faces him in Hira no Kamae at least 3 shaku away (3 feet). Uke cuts with Jodan Kiri. Tori steps back from Hira, to Ichimonji no kamae to avoid the cut. Tori turns a little from the hips up to the left, and rolls to the right on the right shoulder (this is Gyaku Nagare). Note: If a long Tachi or Dai Katana is used, a greater distance is needed. The step back to Ichimonji is greater. Be careful to see the distance between you and the sword. This sort of training is a most important part of Taihenjutsu. Kuden: Change to Ichi No Kamae and roll away straight at ninety degrees. This is a fundamental. This sort of training is a most important element in Taihenjutsu.” “From Hira No Kamae (shizentai – a natural standing position), against the opponent’s cut pull your right leg back and roll to your right. (This is practice for sideward rolling and sideward handsprings). Both sides.” 2.

ICHIMONJI NO KAMAE 一文字の構 Letter One stance

Uke is in Daijodan with a Katana. Tori faces him in Ichimonji no kamae. Uke cuts with Jodan Kiri. Tori rolls forwards to the right 45 degrees with Chu Gaeshi on the right shoulder. Uke turns to face Tori, with the Katana in Daijodan. Tori is on one knee, and as Uke strikes with Jodan Kiri, Tori moves in and strikes with Shito Ken to Suigetsu. Note: Create by means of direction of the roll a distance from where it is easy to leap it is easy in is one method of Taihenjutsu. The Shito Ken is done before he can do a second Kiri. The Chu Gaeshi is a form of rolling where you do not touch the ground as you turn over. Kuden: Assume the Ichimonji No Kamae posture. The opponent rolls at a forty-five degree angle. Then, when I go again from Jodan, he is in a position where he can easily leap in right away. In this way, creating by means of the direction of rolling a

distance from where it is easy to leap in is one of the methods of Taihenjutsu. It is important to immediately leap in to strike the opponent’s Suigetsu with a right Boshi ken thumb strike. (This is practice for forward rolling and forward handsprings).” 3.

JUMONJI NO KAMAE 十文字の構 Cross stance

Uke is In Daijodan with a Katana. Uke cuts with Kiri Komi. 1Tori faces Uke in Jumonji no kamae. Tori steps back with the left foot to avoid the cut, and promptly steps back in striking with Shuto to Kubi wa (collar - Uko), with the right hand in Ura Shuto to the wrist Kote (does not have to be a strike just place it on the wrist). Note: The Kiri Komi means that Uke can cut any why that he chooses. When you step back with the left foot do so for Yoko Ichimonji. Push off with the left foot, and forwards Be able to fly at the opponent, leaping moving, and topping the adversary. Kuden: “As you step back, the legs are still important. The legs must be able to kick immediately. You have to be able to move like this, the legs launch you forward. It is no good just to step back. Legs immediately able to jump are important. Fly in at the opponent. This is important. All right. Leap, moving, topple the adversary.” “Turning your body freely to the right and left (and switching the left and right foot coming forward), use right and left Shuto to strike into targets around the opponent’s neck.” This Taihenjutsu Muto-Dori and even called the beginning form (shoshin no kata) from situations here in Muto-Dori no kata body mastery/proficiency is the thing to have.