Koto-Ryu Koppojutsu (Full Chapter Translation)

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Translation: Kotō-Ry ū Koppō jutsu Chapter · March 2013

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Luke Crocker

KotōKotō-ryū Koppōjutsu

CMARA

WrittenbyMasaakiHatsumi,TranslatedbyLukeCrocker

散骨された骨は大空に舞い、波間にも舞う。生々流転、人の生淮は計りがたし。計りが たきを追う韋駄天。舎利を拾い祭る。その一巻を、骨法術の秘巻とする。筆者は、義鑑 せい あ りゅう

流骨法術、玉心流骨法術を継ぎ、井 蛙 流 骨法術を知り、蛙きた骨法術を、蛙なく田園 の庵にて記さん。 The scattering of cremated bones dances into the great sky, just as they dance on the Waves. Waves. All things being in flux f lux through the endless circle of birth, death and rebirth, a person’s life is a predictable predictable as the Huái River 2 . One who tries to scheme through life is called Idaten3. Pray to the bones of the cremated 4. Regard that scroll as the secret scroll of Koppōjutsu. Koppōjutsu. I (the author), am the successor of Gikan-Ryū Koppōjutsu Koppōjutsu and  and GyokushinRyū Koppōjutsu, Koppōjutsu, and am familiar with Seia-Ryū Koppōjutsu, Koppōjutsu, the Koppōjutsu of Koppōjutsu  of the frog which has retreated to the past is returning 5.

1

 Difficult to be translated into western ideas, the term Koppōjutsu implies Koppōjutsu implies the “crux” of a technique or skill, perhaps a sense of doing away with the superfluous. Koppō may Koppō may also be looked at as the “Knack” of doing something, as in “getting the knack” of something. Along with Kosshijutsu ( Kosshijutsu (骨指術 combat techniques based on the use of the fingers to attack vital points and break bones) Koppōjutsu (combat Koppōjutsu (combat techniques based on breaking bones and the use of the skeleton) were the basic techniques that jointly formed the foundation of combat practice for the martial traditions of the provinces of Iga and Iga and Kōga. Kōga. 2  River in Anhui  in Anhui  province,  province, “Kai  “ Kai ” in Japanese. 3 Idaten 韋駄天 “A swift runner”; the name of a Buddhist deity. 4 Shari 舎利” those of a Buddha or Buddha or Bodhisattva”  5  "frog" 蛙 and "return" 返 both have the same kun-yomi  pronunciation  pronunciation of " kaeru" kaeru"

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Luke Crocker

KotōKotō-ryū Koppōjutsu

CMARA

WrittenbyMasaakiHatsumi,TranslatedbyLukeCrocker

散骨された骨は大空に舞い、波間にも舞う。生々流転、人の生淮は計りがたし。計りが たきを追う韋駄天。舎利を拾い祭る。その一巻を、骨法術の秘巻とする。筆者は、義鑑 せい あ りゅう

流骨法術、玉心流骨法術を継ぎ、井 蛙 流 骨法術を知り、蛙きた骨法術を、蛙なく田園 の庵にて記さん。 The scattering of cremated bones dances into the great sky, just as they dance on the Waves. Waves. All things being in flux f lux through the endless circle of birth, death and rebirth, a person’s life is a predictable predictable as the Huái River 2 . One who tries to scheme through life is called Idaten3. Pray to the bones of the cremated 4. Regard that scroll as the secret scroll of Koppōjutsu. Koppōjutsu. I (the author), am the successor of Gikan-Ryū Koppōjutsu Koppōjutsu and  and GyokushinRyū Koppōjutsu, Koppōjutsu, and am familiar with Seia-Ryū Koppōjutsu, Koppōjutsu, the Koppōjutsu of Koppōjutsu  of the frog which has retreated to the past is returning 5.

1

 Difficult to be translated into western ideas, the term Koppōjutsu implies Koppōjutsu implies the “crux” of a technique or skill, perhaps a sense of doing away with the superfluous. Koppō may Koppō may also be looked at as the “Knack” of doing something, as in “getting the knack” of something. Along with Kosshijutsu ( Kosshijutsu (骨指術 combat techniques based on the use of the fingers to attack vital points and break bones) Koppōjutsu (combat Koppōjutsu (combat techniques based on breaking bones and the use of the skeleton) were the basic techniques that jointly formed the foundation of combat practice for the martial traditions of the provinces of Iga and Iga and Kōga. Kōga. 2  River in Anhui  in Anhui  province,  province, “Kai  “ Kai ” in Japanese. 3 Idaten 韋駄天 “A swift runner”; the name of a Buddhist deity. 4 Shari 舎利” those of a Buddha or Buddha or Bodhisattva”  5  "frog" 蛙 and "return" 返 both have the same kun-yomi  pronunciation  pronunciation of " kaeru" kaeru"

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Luke Crocker

KotōKotō-ryū Koppōjutsu

CMARA

と書くごとく、骨法術の構は、虎倒流、義鑑流、玉心流、おのおの位取りから構える姿 精を大秘としている。口伝 It is written that, Kotō-Ryū, Kotō-Ryū, Gikan-Ryū, Gikan-Ryū, and Gyokushin-Ryū; Gyokushin-Ryū; from each of these the 7 spiritual posture  of Kurai Dori  is  is taken, Kuden. Kuden.

相手方と対立。両足を割って右手を真直ぐに、左手刀を右肩につけ、右手を拳とする構 えなり。 Facing the opponent. Both feet separated with the right hand straight, left Shutō at Shutō at the right shoulder, right hand is in a fist making this Kamae. Kamae.

相手方と対立。両足を割って腰を落し、左手拳を真直ぐに。右手刀を左肩につける構え ない。 Facing the opponent. Both feet separated and lower the hips, left hand fist is straight. Right Shutō at the left shoulder, making the Kamae. Kamae.

この構えは直立に立って、両手横に真直ぐに、両手とも手刀にして、一の字構えとす。 Stand vertical in this Kamae, Kamae, both hands straight out to the sides, both hands are in Shutō, Shutō, in a straight line posture.

腰を落し、両手を顔面の高さに開いて、両足両手飛び込みの姿勢なり。 Lower the hips, both hands are open at the height of the face, this becomes the Kamae of leaping in with both hands and feet.

直立して右手拳を前方に、左手腰に当てる構えなり。 Standing vertical with the right hand fist forward, the left hand is back to strike in posture.

kurai dori  位取 can be taken to mean “to take the situation or enemy and bend it to your will.” This is closely linked to Tenmon and Tenmon and Chimon ( Chimon (天門地門) Geographic and astrological knowledge. 7 Shisei 姿精 “the essence of one’s manner or behavior”. behavior”. 6

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Kotō-ryū Koppōjutsu

CMARA

この図のごとき五つの位取りを五法という。この構えより蟹のごとく横に定む。則ちⅩ 字形に足をぶちちがえた形を速心早速法といつて、忍術家の横走り法として使った形 で、この練習によると普通の歩き方で一日十里歩く者は安々と十六、七里歩くことがで きるし、また狭道でも心やすく通り抜けらるると同時に、敵の斬り込みに対し体が転じ やすく、また飛び込みやすいというのである。一寸練習を要す。 右正眼は虚の構で、重心を左足に置いているが、敵の来るを見て軽く重心を右足 に転ずれば、敵進むあたわず。忽ち変じて左骨指突き入るという構えなり。 左正眼は拳と足とが当るという構えなり。 平一文字は相手方の隙を見出して、いつでも拳または指頭を出すことできる 体勢なり。 抱囲の構は腰を低く落し両手を顔面の高さに開いて、両足両手飛び込みの姿 勢なり。 防備の構は平然として、相手方にいつでも来たれ、我は敵意なき姿勢にて右手拳 のみ威厳を表わしたる構えなり。

The five Kurai Dori  of this image are called Gohō. From these Kamae you move sideways like a crab. This way of moving by crossing the legs in the form of an "X" is called Sokushin Sōsokuhō 8, Ninjutsu families put this method to use to run swiftly sideways, by practicing this walk someone who was normally able to walk 10 ri  in one day would be able to walk 16 or 17 ri , 7 ri  would be comfortable, this allows one to easily travel through a narrow path and is good for the heart, calmly turn the body in response to the opponent cutting in, and leaping in becomes easy. This needs a little practice. Migi Seigan is the Kamae of falsehood, place your center of gravity on the left foot, watch carefully as the opponent comes in and lightly turn your center of gravity to the right foot, the opponent will be unable to advance. This Kamae can suddenly change and thrust in with a left Koshi 9. Hidari Seigan is said to be the Kamae of striking with the fist and foot. Hira Ichimonji  is about allowing the opponent to discover your openings, at any time the fist or fingertips are able to extend from the posture. Hōtō no Kamae has the hips dropped low and both hands open at the height of the face. This becomes the posture of leaping in with both hands and feet. Bōbi no Kamae is done calmly, the opponent can come in at any time, I use a non-hostile attitude with only the right fist that expresses dignity.

8 9

Sokushin Sōsoku Hō 速心早速法” Fast heart that acts immediately method” Kosshi  骨指 “Bone of the Finger”

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Kotō-ryū Koppōjutsu

CMARA

平素練習法として、道場柱に人体の太さほどの藁を巻き、その上に布を固く巻いて拳指 先足先を固め鍛える練習をする。およそ首胴下段と思わるる所に印を付けること。 練習黙視表としては、まず１、母指 ２、母指関節、則ち母指は母指先だけ用 う。 母指関節の時は隠して用う。 ３、五指の揚合、五指とも一寸前かがみにして用 う。 ４、二指の時は人差指と中指の二指を前かがみにして力を人れ、用う。 ５、三 指の揚合は人差指、中指、無名指の三指を一寸前かがみにして用う。６、手刀の時は五 指を立てて用う。 拳の時は母指を中に人れてというが、やはりやはり母指外の方が打ち込みやすく、敵に もこたえるのである。 ７、面部に当てる揚合はまつ毛より一寸上部に面部を用う。 ８、足は臑、指先、甲を用うといえども、脛は主として下段蹴り込みに用う。足指先は 下段、朝霞・摧・搉・扼の時の当てに用う。足の甲は九穴、水月、面部まで各急所に用 う。則ち五指を立てて用うる揚合は必ず中開きにして用うべし、これを四天八光の一閃 という。練習藁人形に対し、足の蹴り込み、指先骨法等、その技に対し、固めの練習を すること。形は形にして、形わ正しく急がず捕る練習が肝要とすること。 As for everyday practice, wrap the dōjō pillars with straw to the same thickness as a human body, on top of that tightly wrap it with cloth to make it solid and practice toughening your fists, fingertips and ends of the feet. When striking, place markers on the spots where the neck, torso and lower body to imagine striking there. Conceive practice by this table, the first one is: 1, Boshi. 2, Thumb Joint, which is to say that most people only think to use the thumb tip,

the thumb joint is effective when it is hidden. 3, the five fingers for hoisting, use the five fingers just in front (1 Sun - a little over 3cm) of the mirror. 4, two fingers, the index and middle fingers are used in this occasion, as before practice this in front of the mirror and put some power into it. 5, Hoisting with the three fingers of the index, middle and ring fingers, stopping just in front of the mirror by one Sun. 6, when using a Shutō have all five fingers 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 above the eyelashes. 8, Shin of the leg, tips of the toes, despite wearing armor, the shin is mainly for kicking into Gedan. For the opportunity to hit Gedan10,  Asagasumi 11, Sai 12, Kaku13, and Yaku14, the tips of the toes can be used. The top of the foot can be used to hit vital points like Kyūketsu 15 and Suigetsu 16 and the face. Also when striking using all five fingers make sure to spread them wide and bend them a little, this is called

Gedan 下段 “lower level”  Asagasumi  朝霞” morning mist” 12 Sai 摧 “to Crush” 13 Kaku 搉 to knock. 14 Yaku 扼 “to prevent” 15 Kyūketsu 九穴 “nine holes” 16 Suigetsu 水月 “Moon on the Water” 10 11

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Kotō-ryū Koppōjutsu

CMARA

"Shiten Hakkō no Issen"17. When practicing against a straw dummy made of straw, kicking in with the foot, Koppō of the fingertips and the like, and according to those skills, that practice should be hard. To have shape and form, it is important to grasp straightforward practice without rushing.

相手方が片胸を捕り来る。 一、右手拇指先で夕霞禁穴を突き上げる。 二、右足脛にて下段を突上げる。 三、左手掌にて含骨を突き上げ、倒す。 The opponent comes in to grab the single lapel. 1, right hand Boshi  tip pushes up to the Kasumi Kinketsu18. 2, the right shin raises into the Gedan. 3, the left palm pushes up into gankotsu19, to knock down.

相手方が腰右投げに充分掛けんとす。 一、左手母指で相手方の右腰の七抜に巻き込む。 二、右手拳で相手方の仏滅に当て込んで倒す。 三、相手方が右腰投げに来ると同時に、まず我が右手を後方に開きそる事に於で相手方 の投げがきかめこと。 七抜に母指を入れると七日間腰立たず、故に形に注意。 The opponent comes in to hoist with a right Koshi Nage20. 1, with a left handed Boshi 21 roll into the opponents Shichibatsu22 on the right hip. 2, with the right fist strike into the opponents Butsumetsu 23 to knock him down.

Shiten Hakkō no Issen 四天八光の一閃 “Four Heavens and Eight Lights in a single flash” Kasumi Kinketsu 霞禁穴 “Mist, Forbidden point” 19 Gankotsu 含骨 “Cherished Bone” 20 Koshi Nage 腰投 “Hip Throw” 21 Boshi 母指 “Thumb” 22 Shichibatsu 七抜 “Seven Omissions” 23 Butsumetsu 仏滅 “Buddha's Death” 17 18

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Kotō-ryū Koppōjutsu

CMARA

3, as the opponent comes in for a right Koshi Nage, by first extending my right hand out to the rear the opponent's throw becomes ineffective. Applying pressure with the Boshi  to the Shichibatsu will make the opponent unable to stand for seven days, therefore be careful with this form.

相手方が右拳で打ち来る。 左腕にて受け流し、右手仁王拳にて相手方の表鬼門に当て込み、同時に左腕で相手方の 右腕脇下より背肩に腕を出し、左背負い投げ。 The opponent comes in with a right fist. Turn aside24 with the left arm, Strike into the opponents Omote Kimon25 with a right Niō Ken26, simultaneously extend the left arm under the opponent’s right armpit behind the shoulder, then throw with a left Seoi Nage27.

相手方が両胸捕りで締めに来る。 同時に右手母指の関節にて霞返しに当て、左足を引き、体をひねると敵倒る。その左手 は敵の右手表逆を左母指にて捕り、逆にすること。 The opponent comes in to choke by grabbing both lapels. Simultaneously counter into Kasumi  with the Joint of the right thumb, Pull the left leg back, and by twisting the body the opponent is knocked down. Use the thumb of the left hand to grab the opponent’s right hand in Omote Gyaku, locking it up.

Uke Nagashi 受流 “Receiving Flow” Omote Kimon 表鬼門 “Outside demon's Gate” 26 Niō Ken 仁王拳 “Guardian Deva King's fist” 27 Seoi Nage 背負投 “back carry throw” 24 25

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Kotō-ryū Koppōjutsu

CMARA

相手方が左手で我が片胸を右手拳にて打ち来る。 まず左腕にて拳を受け、右手母指にて声の当て込み、面部にて敵の顔面を打ち倒る。 The opponent grabs my single lapel with his left hand and strikes into my face with the right fist. First of all, receive28 the fist with the left arm, strike into the Koe29 with the right Boshi , strike into the opponents face with the head to knock him down.

相手方が左手片胸捕り。右手拳で打ち来る。 吾は左手手刀にて敵の右手星をはね上げ、右手で敵の左手星に拇指を当て、掴みて上部 に押し上げ、右腰を入れて投げ。 The opponent grabs my single lapel with the left hand. The right hand fist strikes in. With the left handed Shutō I strike up into the opponent's right hand Hoshi 30, with the right Boshi  strike into the opponents left hand Hoshi , grip the top part and force up, insert the right hip and throw.

相手方が前と同じく、左手胸、右手拳て打ち来る。 吾は左手にて右拳を受け流し、右手拇指で夕霞を打つのと同時に、右足脛にて敵の鈴を 蹴り上げて倒す。 The opponent does as previous, left hand lapel, right hand fist strikes in. I receive with flow31 the opponent’s right fist with my left hand, simultaneously strike Yugasumi32 with the right hand Boshi, and kick up into the opponents Suzu 33 with the right shin to knockdown.

 Uke 受 “Receive”  Koe 声 “voice” 30 Hoshi 星 “star” 31 Ukenagashi 受流 “Receiving Flow” 32 Yugasumi  夕霞 “Evening Mist” 33 Suzu 鈴 “Bell” 28 29

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Kotō-ryū Koppōjutsu

CMARA

相手方が我が両胸を捕り来る。 左右の手を仁王拳にて敵の表逆を同時に打ち、右足を一歩引くと同時にその反動にて敵 の五輪を右足甲にて蹴り倒す。 The opponent comes in to grab both lapels. Strike the left and right of the opponents Omote Gyaku with both Niō Ken, pull back a little with the right foot and at the same time with the instep34 of the right foot kick into the opponents Gorin35 and knock him down.

相手方がまさに同胸を捕らんとし来る。 我が手のみぎにて拇指が敵の顎の下の朝霞上に押し上げ、右足甲にて敵の右足搉を横に 蹴り、倒す。 The opponent begins to move to grab both lapels. With the right thumb push up into asagasumi 36 under the opponent’s jaw, with the armor of the right foot kick into the side of the opponent’s kaku, and knock him down.

相手方が左右拳に打ち来る。 一寸腰を低めにし、抱囲の構として両手を上げる。これは虚なり (眼潰の構ともいう)実 は右足甲にて敵の水月を蹴り倒すなり。 The opponent comes in to strike with the left and right fists. As you lower your hips a little, raise your hands as in Hōkō no kamae. This is the feint (also called Gantsubushi no kamae 37) the true attack is kicking into the opponent’s suigetsu with the armor of the right foot to knock him down.

yoroi 甲 “Armor” Gorin 五輪 “Five Rings” 36  Asagasumi 朝霞 “Morning glow” 37 Gantsubushi no kamae 眼潰の構 “Attitude of crushing the eye” 34 35

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CMARA

相手方が左右拳手にて片胸を捕る。同時にその右手の表逆に左手拇指の関節を用いて掴 み、左上部に逆に捕る。同時に右手五指先にて相手方の右面の左と人とに当て入れ倒 す。 The opponent comes in to grab the lapel with both the left and right hand. With the joint of the left thumb lock the opponent’s right hand in Omote Gyaku, pull the lock to the upper left. Simultaneously with the five fingertips of the right hand strike into the left side of the opponent’s face to knock him down.

相手方が左右拳手にて胸を捕る。 右手拳で弱筋を左へ打ち込むのと同時に、左手拇指で仏滅を打ち込むと敵は倒れる。 The opponent takes the lapel with the left and right hands in a fist. Strike38 into the Jakken39 with the right fist to the left, simultaneously the left thumb strikes into the opponents Butsumetsu 40 to knock him down.

相手方が両手拳で打ち来る。 右足を右後方へ大きく下ると同時に、右足鈴に蹴り込まんとするは、虚にして実は右手 拳で陰に当て込む。

The opponent comes in with both fists. Take a large step back to the right with the right foot and drop down, simultaneously appear to kick into suzu,41 while this is a feint truly42 strike in unseen with the right fist.

Uchi Komu 打ち込む “To drive in” (e.g. Nail or a stake)  Jakken 弱筋 “Weak Sinew”, also pronounced  Jaku Suji. 40 Butsumetsu 仏滅 “Buddha’s death”, a very unlucky day according to ancient almanacs. 41  Suzu 鈴 “bell” 42  Kyōjitsu 虚実 “truth and falsehood becoming interchangeable” 38 39

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Kotō-ryū Koppōjutsu

CMARA

相手方が両手拳で打ち来る。 右足を後方へ一歩下ると同時に、右足で時を踏そつけ、同時に右手拳を陰に当て込む。 にの時というのは足の内側、俗にうめぼしという所の一寸前上なり。 The opponent comes in with both fists. Take one step back with the right foot and simultaneously drop, then with the right foot step on the toki,43 simultaneously the right hand strikes in unseen. What is called toki  is the inner part of the foot, this was at one time a common slang for this spot.

相手方は拳で両手にて打ち来る。 右足を後方に一歩引き下ると同時に、敵の右足摧右足甲にて蹴り込み、右手三指にて一 当時の当リ、一時に突き倒す。 The opponent comes in to strike with both hands. Take one step back with the right foot and pull while descending, simultaneously kick into the opponent’s right leg’s kō44 and break it with your right leg, strike in with three fingers in a single instant, In that instant push to knockdown.

相手方が両手拳で打ち来る。 両腕にて受け、入れ込んで右足で敵の右足扼を蹴り返し、両手拇指を一時に雨戸に打ち 込む。 The opponent comes in to strike with both fists. Receive with both arms, with the right foot kick in with keri-gaeshi  to the opponent’s yaku45 on the right leg, strike in with both thumbs to amado46 instantly.

Toki 時 “time” Kō, yoroi 甲 “armor”, referring to the knee. 45 Yaku 扼 “grasp, clutch, or strangle (a strategic position)”. 46  Amado 雨戸 “rain door” 43 44

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CMARA

相手方が両手拳で打ち来る。 右足を後方に引き、右足指先にて鈴を蹴り上るのと右手五指を顔面と人に当て込むのと 同時のこと。 The opponent comes in to strike with both fists. Pull back with the right foot, kick up into suzu with the toes of the right foot while simultaneously striking into the face of the person with the five fingers of the right hand.

相手方が両手拳で打ち来る。 入れ込んで両手にて受け止め、右手で敵の腕を外側より内側へ巻込んで、左手拇指の仏 滅に打ち込み倒す。 The opponent comes in to strike with both fists. Receive both hands and then clinch, the right hand wraps the opponent’s arm from the outside inward, strike into Butsumetsu with the left thumb to knockdown.

右の表形十八形左技を捕り込みて三十六法とす。 前にも申したるごとく、形は形に て、吾より行う技を正しく打ち込むことのできることが大事である。この形のうちに相 手方が手胸を捕る、両胸を捕るとあることはその例に於てで、骨法術の原則として、相 手方に胸を捕らしむるごときことは原則に反することにて、例えば片胸を捕るとすれば 既に勝利である。なんとなれば、片胸を捕り、強く手元に引くと同時に強く押し当てる ことに於て、左右どちらかの鬼門に当て込むことができるからである。

When you take the eighteen forms that are normally done to the right and pair them with their eighteen ura done to the left, they become the thirty-six methods (sanju roppō; 三十六法). As in previous techniques, make surer to have proper form, and perform the waza carefully. In this principle of Koppōjutsu, 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 kimon.

11

Luke Crocker

Kotō-ryū Koppōjutsu

CMARA

次に背負い、腰投等にかかることは、技にかかるように相手方のどこかを捕っているか らで、我が手を後方に開いて敵のどこも捕つていなければ、投げはかからぬものであ る。例えば一寸腰を下げて、両手を我が後方に開いて、相手方に投げさせるべし。達人 にても投げることができない。ただ外掛、内掛だけは倒ぎれることがある。これとても 敵に自由にせしむるからで、防げばなんでもないことであん 注意。 Regarding seoi nage or koshi nage, you are also grabbing a 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 sun47 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 opponent should be relatively easy to control. (Masaaki 86)

相手方が剣を大上段に構え、斬り込まんとす。我は右正眼の構えとす。 敵を面上に斬り込み来る。右向げの体勢に転じて体をかわすと同時に入れ込んで右足で 敵の腕の星を蹴り上げる。敵の刀を落す。入れ込んで右手五指を敵の顔面に当て込み倒 す。 The opponent takes the attitude of Daijōdan, just about to cut in. I take the attitude of Seigan. The opponent comes in to cut from above. Turn the body to face the right while simultaneously putting forth the right foot to kick up into the opponent’s hoshi 50. The opponent drops the sword. Strike into the opponent’s face with the five fingers of the right hand to knock him down.

47

Sun

寸 an old unit of measurement in Japan – 1 sun is equal to about 3 centimeters

48 The

important thing of this level is to move in a clockwise direction – this will make it difficult for theuke to cut towards you. (Manaka 54) 49 Boku 蹴朴 “Celtis sinensis var. japonica” 50 Hoshi 星 “Star”

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Luke Crocker

Kotō-ryū Koppōjutsu

CMARA

下に出て虚一転返る 相手方は剣を中段の構え。 吾は平一文字の構えとす。 敵が右胴に斬り込み来る。我は右足で後方左横に飛び、 敵が再び大上段にせんとする 時、飛び込んで敵の星を右手で掴み、右足敵水月を蹴り込んで倒す。 Drop and exit with a roll 51 to deceive52 The opponent is in Chūdan no kamae with a ken. I am in Hira Ichimonji no Kamae. The enemy comes to cut into the right side. I leap back to the left side using the right foot, at that moment the enemy moves back into Daijōdan no kamae, leap in and with the right hand grab the enemy’s hoshi , and kick into the enemy’s suigetsu to knock him down.

相手方は剣を中段の構え。 吾は抱囲の構えとす。 敵が突き入り来る。右足で敵の右足前に横前進。左手にて敵の右手首を掴み、右手拳に て敵右手表逆を強く打つ。敵剣を落す。体を右に転じ、 左足に座す。敵仰向けに倒 る。 The opponent is in Chūdan no kamae with a ken. I am in Hōko no kamae.53 The enemy enters in to thrust. Advance the right foot diagonally in front of the enemy’s right foot. With the left hand grab the enemy’s right wrist, with the right fist strike strongly into the enemy’s right arm omote gyaku54. The enemy drops his ken. Turn the body to the right, sit on the left leg. The enemy falls face up.

Itten kaeru 一転返る “a single turn-o ver,” like a summersault. Kyo 虚 “empty”, “false”, “to deceive” (antonym of jitsu 実 truth). 53 Hōko 抱囲 “encirclement”, when pronounced “houi ” may also mean “to hold something with both hands”. 54 Omote gyaku 表逆 “outside reverse” 51 52

13

Luke Crocker

Kotō-ryū Koppōjutsu

CMARA

相手方は剣を大上段の構え。 吾は防備の構え。 敵が斬り込み来る。 前進し右に体を転じ、敵の流を右手手刀にて打ち、 敵の剣を落 す。 右手手刀にて敵の両眼左右を打つ。 The opponent stands with a ken in Daijōdan no kamae. I am in Bōbi no kamae. The enemy comes to cut in. Turn the body to the right while advancing, hit the enemy’s nagare55 with a right shutō, the enemy’s ken is dropped. Hit both of the enemy’s eyes with a right shutō.

生秘希望

相手方は剣を大上段の構え。

吾は左正眼の構え。 敵が斬り込み来る。 一寸右へ体を転じ、右手拳にて敵の弱筋を横より強く突き、同時 に右足で敵の仏滅を蹴り倒す。 Life’s Secret Hope56 - The opponent stands with a ken in Daijōdan no kamae. I am in Hidari Seigan no kamae. The enemy comes to cut in. At that moment turn the body to the right, with the right fist thrust to the side of the enemy’s jakkin57 strongly, simultaneously kick into the enemy’s Butsumetsu 58 with the right foot to knock him down.

Nagare 流 “flow” Seibikibō 生秘希望 “Life’s Secret Hope” 57 Jakkin 弱筋 “Weak muscle” 58 Butsumetsu 仏滅 “Buddha’s Death; a very unlucky day (according to old almanacs). 55 56

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Luke Crocker

Kotō-ryū Koppōjutsu

CMARA

相手方が剣を中段の構え。 吾は防備の構え。 敵が右胴に斬り込み来る。吾は左前に体を転じ、 右手拳で敵の人に打ち込み倒す。 The opponent stands with a ken in Chūdan no kamae. I am in Bōbi no kamae. The enemy comes to cut into the right side of the body. I advance the body forward and to the left, and strike into the enemy’s jin59 with the right fist to knock him down.

相手方が剣を大上段に構える。 吾は抱囲の構えとす。 敵が大上段に斬り込み釆る。吾は体を落し、右足で前進し、左足に坐し、右手拳を敵の 水月に打ち込み倒す。

The opponent stands with a ken in Daijōdan no kamae. I am in Hōko no kamae. He enemy cuts in from Daijōdan no kamae. I drop my body, advance with the right foot, sitting on the left foot, strike into the enemy’s suigetsu with the right fist to knock him down.

59 Jin

人 “person”

15

Luke Crocker

Kotō-ryū Koppōjutsu

CMARA

相手方が剣を中段に構える。 吾は平一文字に構える。 敵が突きに来る。 我は右足を右へ大きく開いて体を転じる。敵が忽ち剣を右胴に斬り 込み来る。我は敵の前に前進し、 両手を地に突き、体を落して同じく前に飛び返り、 両足にて敵の水月を蹴り込み倒す。 右技は姶めより必ず型が終れば元の位置に帰り、位取り、 残心のことは武道家の大事 たり。 The opponent stands with a ken in Chūdan no kamae. I am in Hira Ichimonji no kamae. The opponent thrusts in. I turn the body to open wide to the right in a large movement with the right foot. The enemy immediately moves to cut in to the right side. I move to the front of the enemy, thrust both hands to the earth, and with the body dropped leap up, and kick into the enemy’s suigetsu with both feet to knock him down. In the migi waza it is important to finish the kata silently and in the same position that you started, kurai dori ,60 and zanshin are very important to the budō-ka.

 Kurai Dori 位取り “To take a position”, physically, geographically, and psychologically.

60

16

Luke Crocker

Kotō-ryū Koppōjutsu

CMARA

相手方が吾に向わんとす。 右手で敵の霞返しを右手手刀で打つと同時に、右足先を敵の鈴に掛け倒して、右足を引 き、残心の構。 右技も同じ。 The opponent approaches to impede me. Counter the opponent’s right hand with a right shutō62 to kasumi 63 at the same time, with the right foot hook the enemy’s suzu64 to knock him down, pull back the right foot, zanshin no kamae.65

This skill is the same on the left side.

相手方が吾に向わんとす。 右手拇指先を敵の左雨戸に当て入れ、同時に両足で敵の胴をはさみ締めて、忽ち両手に て敵の両足きびすを引くと、敵は仰向けに倒る。右足にぶら則ち足形で編み締めにす。 左技も同じ。 The opponent approaches to impede me. Strike into the enemy’s left amedo66 with the right boshi ,67 at the same time wrap both legs around the enemy’s torso, and suddenly pull out both of the enemy’s feet with

61

Kuden: The Chūden Gata is training for making the body movement nimble. This level i s derived from Hichōjutsu (technique of the leaping bird; 飛鳥術), a technique for disguising and concealing kicks while being able to negate the enemy’s techniques before they are able to perform them. With this in mind, these techniques should be performed with a strong emphasis on the timing of your movements. Also, perform the techniques from any kamae, any attack, and also while approaching the enemy, and the enemy approaching you. (Manaka) 62 Shutō 手刀 “blade of the hand” 63 Kasumi 霞 “Mist” 64 Suzu 鈴 “bell” 65 zanshin no kamae 残心の構 “Attitude of the Remaining Mind”. “ Zanshin in Japanese means kokoro ga nokoru. You have (are) fighting, but don't let yourself go away. Your mind, your body, is still here. You don't know what can happen." (Zoughari) 66  Amedo 雨戸 “Rain door” 67 Boshi 拇指 “Thumb”

17

Luke Crocker

Kotō-ryū Koppōjutsu

CMARA

both hands, the enemy falls face up. Entwine his leg and tighten. This skill is the same on the left side.

相手方が吾に向わんとす。 右手五指にて敵の面部の左当と入むに当て込むと同時に、

右足陰に蹴り込み、

引い

て残心の構。 左技も同じ。 The opponent is not facing us. Strike into the opponents face with the five fingers of the right hand, at the same time kick in with the right foot with in,68 and pull back into zanshin no Kamae. This skill is the same on the left side.

相手方が吾に向わんとす。 右手の三指にて敵の表鬼門に打ち込み、 蹴り込んで両手が畳につく。

その反動を利用して、

反動をつけて一転回、

両足で左右の仏滅を

元の構にて残心。

左技も同じ。 The opponent is not facing us. With the three fingers of the right hand strike into the opponents omote kimon69, using the reaction, kick in to the left and right butsumetsu 70 while both hands come to the ground. With the movement turn-over once, return to your former position and zanshin.

This skill is the same on the left side.

In 陰 “Yin [-Yang]” Omote kimon 表鬼門 “outside of the demon’s gate” 70 Butsu metsu 仏滅 “the day that Buddha passed away, thus an unlucky day” 68 69

18

Luke Crocker

Kotō-ryū Koppōjutsu

CMARA

相手方が近づかんとす。 右手の手刀で敵の右雨戸を打込んで、 退き、

左手手刀で左の雨戸を打ち込ん、

後ろに飛び

残心。

左技も同じ。 The opponent approaches. Strike into the opponent’s right amedo with a right shutō, strike into the left amedo with a left-handed shutō, leap backward, zanshin. This skill is the same on the left side.

相手方が近づき来る。 右手の四手にて脇を掴み、

拇指を仏滅に当て、

ひねるがごとく当て込む。同時に右

足で敵の右足声を蹴り倒そ。引いて残心。 左技も同じ。 The opponent approaches. Grip the armpit with the four hands of the right hand71, strike into butsumetsu  with the thumb, twist as you strike in. at the same time kick in to the opponent’s koi 72with the right leg to knock him down. Pull back and zanshin. This skill is the same on the left side.

 Here it says migite no shide 右手の四手 (lit. four hands of the right hand), however it is speculated that this is referring to the four fingers of the right hand. 72 Koi 声 “sound” 71

19

Luke Crocker

Kotō-ryū Koppōjutsu

CMARA

相手方が両手拳で打ち込み来る。 両手にて腰を落して受け止め、

飛び退いてかわす。

首に巻掛け、

右手肘にて敵の左仏滅に当て込み、その手拳を直ぐ上

腰投げに来る。

敵が再度飛び込み来り、 左腕

部の敵の面部に打ち込み、左手で敵の左面を持つ手面を捕つて体を充分落して右足を掛 けて投げ。 左技も同じ。 The opponent strikes in with both fists. Drop the hips and receive with both hands, leap out of the way to avoid. The opponent moves to leap in again, wrapping the left wrist, he attempts a koshi nage. Strike into the opponent’s left butsumetsu  with the right elbow, immediately strike up into the opponents face with the fist, with the left hand grasping the face drop the body sufficiently and execute kakete nage 73with the right leg. This skill is the same on the left side.

相手方が近づき来る。 右手三指にて敵の一当、三当時の当三ヵ所を同時に下に押す。ちようど猫がかくがごと 押し当て故に鼠捕りともいう。左手の五指と手の掌を上向けにして、敵の朝霞を当て倒 す。引いて残心。 左技も同じ。 The opponent approaches. Three fingers of the right hand to the opponent’s one point76, then strike down and push the three points simultaneously. Push down in the manner that a cat scratches

Kakete nage 掛けて投げ “hooking throw”  This has also been written in Unarmed Fighting Techniques of the Samurai (Masaaki 90) as 鼠飛 (Nezumi hi/tobi ; leaping rat). 75 Musasabi 鼯 “Flying Squirrel” Petaurista leucogenys 76 Ichi tō 一当 “single point” 73 74

20

Luke Crocker

Kotō-ryū Koppōjutsu

CMARA

which is why this is also called nezumi tori 77. The five fingers and palm of the left hand face up, to the opponent’s asagasumi 78 strike to knock down. Pull back and zanshin. This skill is the same on the left side.

相手方が近づき来る。 前と同じく三指にて敵の一当、三当時の当三ヵ所を一時に下に押し当て入れ、左手五指 を敵の右当と人当に突き当て、右横一間ほど飛退き、残心。 左技も同じ。 The opponent approaches. Similar to before three fingers of the right hand to the opponents one point, then strike down and push the three points simultaneously, with the five fi ngers of the left hand thrust into the opponent’s right tōjintō79, then leap to the right about one ken, zanshin. This skill is the same on the left side.

相手方が近づき来る。 右手にて敵の左脇下腕付根前方に右親指で指を当て上部に突き上げる。右足甲で敵の左 摧を蹴り込んで退き、残心。 左技も同じ。 The opponent approaches. With the thumb of the right hand thrust up into the opponent’s left underarm where it meets the torso. The right shin kicks into the opponent’s left sa80i  and pull back, zanshin. This skill is the same on the left side.

Nezumi  tori 鼠捕 “grasping/catching a rat”  Asagasumi 朝霞 “morning glow, morning mist (haze)” 79 Tōjinō 当人当 “the person in question (?)” 80 Sai 摧 (break, destroy, devastate, ravage, repress) 77 78

21

Luke Crocker

Kotō-ryū Koppōjutsu

CMARA

相手方が近づき来る。 右手三指にて敵一當、三當時のあたりを一時に下に押し当て入れ、同時に左足鈴を蹴り 上げて倒す。残心。 左技も同じ。 The opponent approaches. Three fingers of the right hand to the opponent’s ittō81, at this time strike and press down to the three points, simultaneously kick up to suzu with the left foot.  Zanshin. This skill is the same on the left side.

相手方が我が胸を捕る。 右手にて朝霞。拳にて突き上げるのと同時に、足右にて内股のごとくして突き倒す。残 心。 左技も同じ。 The opponent comes to grasp my chest. Right hand to asagasumi . Simultaneously thrust up with the fist, right foot to the inner thigh82 and thrust to knock down. Zanshin. This skill is the same on the left side.

Ittō 一當(one: to be, to act as, manage, withstand, when, during, ought, should, match equally, equal, same, obstruct, just at (a time or place), on the spot, right, just at) 82 Uchimata 内股 (inner thigh), suggests uchimata uchi gake form Jūdō. 81

22

Luke Crocker

Kotō-ryū Koppōjutsu

CMARA

相手方が飛び込み来り。 右手にて我が片胸を捕り、 左手にて我が右袖を掴み、内股に掛けて投げんとす。 吾は右手拳を敵の内股に掛けた足の搉の裏を上より拳で打ち落し、左手拳にて敵の胸を 持つ右腕の星を下より打ち上げ、退いて残心。 左技も同じ。 The opponent leaps in. With the right hand grab the chest, with the left hand grab the right sleeve, and hook with uchimata 84 to throw. I knock down the enemy’s leg that is performing the uchimata gake with the right fist to the inside of the thigh, with the right fist strike up from underneath to the enemy’s hoshi of the right arm, step back to zanshin. Hidari waza is also the same.

相手方が小刀にて来る。 吾は正眼の構えとす。敵は小刀を真一文字に我が胸に突き来る。 その時左足に重心を 置いて体を落し、引く敵の小刀が我が右側に流れる。我が右手の五指は星を突き、同時 に左手で敵の小刀を持つ手首を掴み、 右足を一歩入り込んで右手拳にて敵の右手表逆 を内側に打つ。敵の小刀は飛ぶ。 直ちに、 右手栂指を敵の表逆に当て持ちて、体を右向けに転化する。敵は右手逆俯け となり倒る。 左足にて敵の左足摧を蹴り上げ、 突き倒す。 残心。 左技も同じ。

83

 The main emphasis of the Okuden Gata is on Taihenjutsu (Body Movement). When performing these techniques, you must focus all of your intention and your spirit at the Uke with the feeling of no beginning and no end as far as the techniques go – i.e. think about the before, and the after. When you have finished each technique, you remain in a state of readiness to deal with numerous enemies whilst at the same time keeping your focus on the Uke ( Zanshin) – this is an important part of the Okuden level. (Manaka 46) 84 Uchimata 内股 “Inside of thigh”

23

Luke Crocker

Kotō-ryū Koppōjutsu

CMARA

The opponent comes in with a shōtō.85 I am in Seigan no kamae. The enemy comes in to thrust in a straight line86 to the chest. At that moment drop the body to shift the center of gravity to the left leg, as the enemy’s shōtō flows by on my right side pull it. With the five fingers of the right hand thrust into the hoshi 87 , simultaneously grab the enemy’s wrist that holds the shōtō with the left hand, strike into the inside of the enemy’s omote gyaku88 with the right fist while entering in with the right foot. The enemy’s shōtō is sent flying. Immediately, strike the enemy’s omote gyaku with the right thumb and hold, change and pivot the body to the right. With the enemy’s hand in a gyaku he falls face-down. With the left leg kick up into the enemy’s sai , Thrust down. Zanshin. Hidari waza is also the same.

相手方が小刀で大上段にて斬り込み来る。 吾は左足を一歩敵の右足前に飛び込む。と同時に左手拳にて敵の右手の星を突き上げ、 忽ち左右両手同時に八葉を平掌打ちにする。 右足脛にて鈴を蹴り上るのと同時。 残 心。 左技も同じ。 The opponent comes to cut in with a shōtō. Take one step with the left leg and leap in front of the enemy’s right leg. With the left fist simultaneously thrust into the enemy’s left hoshi , suddenly strike the happa89 with the palms of both hands. At the same time kick up into suzu with the right shin.  Zanshin. Hidari waza is also the same.

Shōtō 小刀 “short sword” Ma Ichimonji  真一文字 “straight; as the crow flies” 87 Hoshi 星 “Star” 88 Omote gyaku 表逆 “Outside reverse” 89 Happa 八葉 “Eight Leaves” 85 86

24

Luke Crocker

Kotō-ryū Koppōjutsu

CMARA

相手方が両胸を両手にて捕る。締め来る。 吾は両手掌にて一時に敵の左右の八葉を打つのと同時に、我が面部にて敵の顔面の人当 に打ち付ける。残心。 左技も同じ。 The opponent comes in and grabs the lapels with both hands, and prepares to choke. At the same time strike the enemy’s happa with both palms, strike into the enemy’s  jintō90 with your head. Zanshin. Hidari waza is also the same.

相手方がまぎに来らんとす。 吾は左足を一歩敵の右足前に進め、左手手刀にて敵の雨戸を打ち、 右側に飛んで残 心。 左技も同じ。 The opponent approaches. Take one step with the left leg, and place it in front of the enemy’s right leg, hit the enemy’s uko91 with the left shutō, leap to the right side and maintain zanshin. Hidari waza is also the same.

 Jintō 人当 “appropriate person” Uko 雨戸 “Rain Door”

90 91

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Luke Crocker

Kotō-ryū Koppōjutsu

CMARA

相手方が近づき来る。 右手で十字路を下に突き当て、同時に体は右斜めとなつて、右足で敵の五輪を蹴り倒 す。技で右手を使うのと、右足を使うのと、体を斜めにするのとは三拍子。残心。 左技も同じ。 The opponent approaches. Thrust into the jūjiro92 with the right hand, simultaneously turn the body diagonally to the right, the right leg kicks into gorin93 to knock the enemy down. This is the skill of using the right hand, the right leg, and turning the body diagonally to keep time with sanbyōshi 94. Zanshin. Hidari waza is also the same.

相手方が近づき来る。 吾は左右の両手にて敵の両脇を掴み、栂指を両手とも仏滅に当て、持ちて体を一寸左斜 めにひねり、左足を右後方に座して投げ、三拍子。残心。 左技も同じ。 The opponent comes closer. With both of my hands grab both sides of the enemy95, with the thumbs of both hands strike into Butsumetsu , while holding on turn the body diagonally to the left, sit with the left leg behind the right to throw, sanbyōshi . Zanshin. Hidari waza is also the same.

 Jūjiro 十字路 “Crossroads” Gorin 五輪 “Five Rings” 94 Sanbyōshi 三拍子 “Triple time” as found in J apanese musical theory; the three requisites. 95  Waki 脇 “sides” in this context may refer to the armpits, I (Luke) have learned this as grabbing the skin on the sides of the torso. 92 93

26

Luke Crocker

Kotō-ryū Koppōjutsu

CMARA

相手方が近づき来る。 吾は両手で敵の襟上を掴み、両手栂指で左右の襟を下に押し、引いて、 我が前頭にて 面に打ち付け、右足で敵の声に掛け、車返しにして、我は敵と共に一転回、中返りして 敵を馬乗りなし締め、 残心。 左技も同じ。 The opponent comes closer. I catch the enemy’s upper collar with both hands, push down on both sides with the thumbs, and pull, thrust your forehead into his face, the right foot hooks the enemy’s koi , perform kuruma gaeshi 96, I turn over once with the enemy, choke the enemy with umanori 97  and perform chūgaeri . Zanshin

Hidari waza is also the same.

相手方が近づき来る。 吾は両手で敵の八葉を左右もろともに打ち、両足で敵の水月を蹴り、吾は中返りして元 の位置に。 この技は、練習の数回初めは中返りに手を地をついて、その反動を利用すべし。 左技 右手にて雨戸を当てただけで、両足を水月に当て入れ、 中返り。残心 The opponent comes closer. I strike with both hands to the enemy’s happa, with both feet kick into the enemy’s suigetsu , I execute chūgaeri 98 and return back to the starting place.

With this skill, begin by practicing chūgaeri with the hands touching the earth, use this reaction. Hidari waza

Kuruma gaeshi 車返し “Wheel Reverse” Umanori  馬乗り “Horseback riding”, refers to straddling the opponent like riding a horse. 98 Chūgaeri 中返り “Middle Reversal” 96 97

27

Luke Crocker

Kotō-ryū Koppōjutsu

CMARA

Just as the right hand strikes uko, both legs strike into suigetsu, chūgaeri , zanshin.

Kimon

 (Demon Gate)

相手方が近づき来る。 右手で敵の脇下を掴み、栂指で鬼門を押し、同時に腰を入れて左足を引き、 座して投 げ。 左技も同じ。 The opponent comes closer. Catch hold of the opponent’s underarm with the right hand, push into the kimon99 with the thumb, simultaneously insert the hip and pull back the left leg, sit and throw. Hidari waza is also the same.

相手方が近づき来る。 前と同じく脇下を掴み、栂指で鬼門を押し、当て込み、同時に敵の両足の中に我が身体 を流し込む。敵は俯け、 顔面地上に打ち付け倒る。 左技 左技は我が体を右へ横流し、 横捨身。 The opponent comes closer. Grab the armpit as before, push into kimon with the thumb, strike in, simultaneously with both feet between the enemies’s legs my body flows in. The enemy falls face down, drive the head straight up into the face of the enemy to knock him down. Hidari Waza

In Hidari waza my body flows to the right with yoko nagashi 100, yoko sutemi 101.

Kimon 鬼門 “Demons Gate” Yoko nagashi  横流し “Flowing Sideways” 101 Yoko Sutemi  横捨身 “Sideways sacrifice” 99

100

28

Luke Crocker

Kotō-ryū Koppōjutsu

CMARA

相手方が近づき来る。 右手はちょうど乳を掴むがごとくにして、五指をもって五輪を突き当てる。この五輪は 表鬼門のこと。右足甲にて五輪腹部を蹴り倒す。 左技も同じ。 The opponent comes closer. Move as though to grab the chest with the right hand, strike into gorin with the five fingers. This gorin is the omote kimon. With the instep of the right foot kick into abdomen gorin to knock down. Hidari waza is also the same.

相手方が近づき来る。 吾は体を横に転じ、 また後方に飛び退き、 相手にせず。 逃れんともせず。 敵急せる。 敵急せり飛び込み来るを雨戸または霧霞、鬼門、 仏滅等、 打ち込みやすき所に打ち込 んで、 ただ一打に敵を倒す。 The opponent approaches. I turn the body to the side, retreat with a leap backwards, don’t do anything, and also don’t escape. The enemy becomes impatient. As the enemy becomes more urgent leap in and strike amado or kirigasumi 102, kimon, Butsumetsu and so on, strike fiercely into an easy target, the enemy should fall with a single blow.

102

Kirigasumi 霧霞 “Misty haze”

29

Luke Crocker

Kotō-ryū Koppōjutsu

CMARA

相手方が近づき来る。 吾は彼の顔眼を見つめるごとく、 実は敵のまつ毛を見つめ、敵が近づくことのできな いこと眼心一如不動身のいわれ、これ一種の不可思議な術なり。 現在の波及術同様、この術は一心一念による大事なり。 The opponent approaches. Stare into the eyes, the truth is we stare at the eyelashes, the enemy is unable to approach because of Ganshin Ichijō Fudōshin104, and this is a kind of mysterious105 technique. Just as with hakyūjutsu 106 the important part of this is isshin ichinen107.

極楽は

まゆげのうえのつるしもの

あまりの近さに見つけぎりける

道元禅師 Paradise108 is, something that is suspended just above the eyebrows, so close that you can’t find it. –Dōgen Zenshi109

暗夜に敵が攻め来る。 腰を充分に落し、人を見るとせず、空気の動きを良く見るべ し。 その方向にに錆盤を打ち付ける。また日中にても敵多数の場合、八方の敵に銛盤 を投げる。この盤磐の投げ方は、我が右手の人差指を銛盤前方に置き、 中指、 無名 指、小指を下に置いて、我が手首と敵の方向と位置を当、我が手首に当てる。心して前 方に投げること、し 大秘なり。 せん ばん

せん ばん

かい せ

と言うも銛盤を閃万と快世。

103

 This can also mean 1) an incredibly short span of time ( i.e. the time occupied by a single thought –Buddhist connotation); 2) a single repetition of a prayer (especially in  Jōdō-shu Buddhism). 104 Ganshin Ichijō Fudōshin 眼心一如不動身 “The eyes and spirit are one, the body is immovable” 105  Fukashigi 不可思議 “mystery; something inexplicable; wonder; miracle. Unfathomable (of a Buddha ’s abilities). 106 Hakyūjutsu 波及術 “Extraordinary techniques” 107 Isshin Ichinen 一心一念 “Committing the whole heart into a single purpose” 108 Gokuraku 極楽 “Sukhavati  ( Amitabha’s Pure Land)” 109  Buddhist Monk, 1200-53

30

Luke Crocker

Kotō-ryū Koppōjutsu

CMARA

The enemy comes to attack in the dark of night. Drop the hips sufficiently, don’t look at the man, but skillfully observe the movement of the air110. Impale a shōban 111 into the direction of that parson. And in the case that there is a great number of enemy that day, throw senban112 at the enemy in eight directions. The way of throwing a rock like a plate, we place the senban on the index finger of the right hand, the middle finger, ring finger, and little finger are placed underneath, and I position my wrist in the direction of the enemy, and snap with the wrist. Throw forward with caution, this is an important secret. Edged Plate

Understand senban  to mean enlightened direction ( senban; 閃万).113

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A warrior prays for peace so that he does not have to kill For if the opponent attacks His life must be taken This is the technique of not fighting -Venerable White Dragon

Kūki 空気 “air; atmosphere” Shōban/Seiban 錆盤 “Rusty plate” 112  Senban 銛盤 “Edged plate” 113  Senban 閃万 “May also be interpreted as 10,000 fla shes” 110 111

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