schools-kotoryu
Kotou ryuu Koppoujutsu (虎倒流骨法術) [Tiger Felling School]
According to kuden (oral tradition), koppojutsu originated in ancient China. It was brought to Japan by the monk Chan Busho, who was born in what is now present day Korea. (Author's note: For those readers interested in the little known subject of ancient Korea's influence on Japanese culture, the book Korean Impact On Japanese Culture by Dr. Jon Carter Covell and Alan Covell is a good place to start.)
What type of monk was Chan Busho? The traditions are not clear. However, his name does have some interesting linguistic relationships. In Chinese, Chan means "Name of Wind". That is, the name and mind being substance. The more popular claim that Chan translates into Japanese as "Zen" is actually a misinterpretation. However, like many such mistranslations, once it gains a certain amount of popular acceptance, there is little one can do except point out the original error and accept the fact that most people will not want to be confused by the facts. The name Busho is very close to the Japanese word "Busho", which means Buddhist scripture. Thus there is a fair case that Chan Busho (or who ever took koppojutsu to Japan) was a Buddhist.
Given the nature of Koto ryu techniques and taking into account some of the current Chinese martial arts, a fair case for some connection between the two could be made. An example of the Buddhist teachings can be seen from the following quote taken from the writings of Takamatsu Toshitsugu:
"No one possesses the knowledge concerning the events of tomorrow. This means that we do not know when our life will cease. However, you should never be surprised by any kind of happening. Whether a change in the cosmic process occurs, a cutting action is attempted by an opponent or natural catastrophes take place, you should never feel such a thing as surprise. This is the spirit of Banpen Fugyo."
While these teachings may at first sound somewhat simple, they can take years to realize in actual living. The history of Koto ryu has it that the techniques were passed down from Busho through several generations until the teachings reached Sakagami Taro Kunishige in the mid-l500's. From here, the ryu was passed down to the famed ninja leader Momochi Sandayu. The ryu stayed in the Momochi family for a number of generations until it passed to the Toda family. Toda Seiryu Nobutsuna was the first Toda family grandmaster of Koto ryu and he headed the system from 1624 A.D. to 1644 A.D. From the Toda family, the system passed down to Takamatsu Toshisugu and into the modern world. The teachings of Koto ryu are organized on the usual ancient Japanese system of Shoden, Chuden, Okuden and Hiden. Although there is some relationship between each level of the techniques, each group has its own important points.
An interesting aspect of Koto ryu is that the techniques would work against a man dressed in modern clothing or armor of the type worn in ancient Japan. This reflects the fact that although the ancient ninja are often associated with the practice of espionage, a number of them saw action on battlefields of old Japan. Another interesting aspect of Koto ryu is that the concepts and techniques greatly compliment the ideas and techniques contained within Gyokko ryu.
The Kihon Waza of Koto ryu contain such basic techniques as rolling, hitting, jumping, and proper body conditioning. This last, that each ryu has its own conditioning associated with it, is often overlooked.
The Shoden Gata is contained in 18 methods. These methods deal with a variety of attacks and show the proper use of such striking techniques as kicks, head butts and different strikes with the hands. While on first examination, these techniques look fairly simple and straight forward, they are not, because of the number of situations under which they can be used. It should be noted that the Koto ryu has its own system of attacking the various weak points of the body and the study of how to match the proper body weapon to the point of what is being attacked is a rather wide area of study.
According to the book Dai Nippon Bugei Ryu Ha, the following provides an outline of the history of the Koto ryu. The names listed are those of the grandmasters of the system. There were, of course, a number of famous ninja and samurai trained in the techniques of the Koto ryu. For example, the famous ninja Ishikawa Goemon learned ninpo from his master, Momochi Sandayu. Goemon is best remembered for his role as Japan's "Robin Hood". Goemon also attempted to kill the famed leader Hideyoshi, but without success. According to popular legend, Goemon was eventually executed for his activities (a common fate for many at that time) but other Kuden states that he escaped this fate.
As mentioned earlier, the exact origin of koppojutsu is lost somewhere in the mist of ancient history. The techniques of the ryu were reorganized by Sakagami Taro in 1542 A.D. The man who was to become second headmaster of the ryu, Bando Kotaro Minamoto Masahide was killed in battle later in that same year. This event resulted in the ryu being passed to Sougyoku Kan Ritsushi.
While it is true that the techniques that were to become Koto ryu were brought to Japan from China, there is ample evidence that the teachings and techniques that were named "Koto ryu" at a much later date actually originated in ancient India where it was called "karanai". At that time, these techniques (actually what today is called koshijutsu and koshijutsu) were considered to be practically "miracle" techniques because these techniques enabled one to easily control or defeat an enemy with almost no effort.
When these techniques were imported into China (probably during the fall of the Han dynasty) it was part of the information flow that brought Buddhism into China from India. Although it would be nice if it were possible to narrow this transmission down to one man (much like is done by modern kung fu salesmen), there is really little reason to believe that these techniques were the property of just one individual. Granted they were not (and still are not) common knowledge, but they probably were changed, improved and adapted in China before they ever actually got to Japan.
Once this knowledge arrived in Japan, it was further developed and even today there is a continued process of change and development taking place. Once in Japan, the teachings of koshijutsu and koshijutsu quickly became the property of an elite group of families. Often, only one person in each generation was taught these techniques.
In the stream of martial arts that is today known as ninjutsu, the historic development of the fighting arts shows that the oldest of the taijutsu arts is koshijutsu (e.g. Gyokko ryu). This was followed by the development of an independent form of koppojutsu (e.g. Koto ryu) and this was followed even later by a system of koppojutsu based on the earlier systems. That is that the later Gikan ryu koppojutsu was a direct outgrowth of the teachings of Gyokko ryu and Koto ryu.
Kotō ryū is characterised by short and sharp attacks, often from a surprise or ambush position. The idea of Kotō ryū is hidden in the name 虎倒 (Kotō) which reads 虎 (tora - tiger) and 倒す (taosu - to knock down). Tigers in nature are known for attacking their prey in an ambush, crushing the victim (with their body-weight) and killing with a swift bite to the throat or neck. In the same way, the techniques of Kotō ryū strike from hidden positions or blind spots and break down the opponents balance before finishing them with a strike to the head or neck.
According to kuden (oral tradition), koppojutsu originated in ancient China. It was brought to Japan by the monk Chan Busho, who was born in what is now present day Korea. (Author's note: For those readers interested in the little known subject of ancient Korea's influence on Japanese culture, the book Korean Impact On Japanese Culture by Dr. Jon Carter Covell and Alan Covell is a good place to start.)What type of monk was Chan Busho? The traditions are not clear. However, his name does have some interesting linguistic relationships. In Chinese, Chan means "Name of Wind". That is, the name and mind being substance. The more popular claim that Chan translates into Japanese as "Zen" is actually a misinterpretation. However, like many such mistranslations, once it gains a certain amount of popular acceptance, there is little one can do except point out the original error and accept the fact that most people will not want to be confused by the facts. The name Busho is very close to the Japanese word "Busho", which means Buddhist scripture. Thus there is a fair case that Chan Busho (or who ever took koppojutsu to Japan) was a Buddhist.
Given the nature of Koto ryu techniques and taking into account some of the current Chinese martial arts, a fair case for some connection between the two could be made. An example of the Buddhist teachings can be seen from the following quote taken from the writings of Takamatsu Toshitsugu:
"No one possesses the knowledge concerning the events of tomorrow. This means that we do not know when our life will cease. However, you should never be surprised by any kind of happening. Whether a change in the cosmic process occurs, a cutting action is attempted by an opponent or natural catastrophes take place, you should never feel such a thing as surprise. This is the spirit of Banpen Fugyo."
While these teachings may at first sound somewhat simple, they can take years to realize in actual living. The history of Koto ryu has it that the techniques were passed down from Busho through several generations until the teachings reached Sakagami Taro Kunishige in the mid-l500's. From here, the ryu was passed down to the famed ninja leader Momochi Sandayu. The ryu stayed in the Momochi family for a number of generations until it passed to the Toda family. Toda Seiryu Nobutsuna was the first Toda family grandmaster of Koto ryu and he headed the system from 1624 A.D. to 1644 A.D. From the Toda family, the system passed down to Takamatsu Toshisugu and into the modern world. The teachings of Koto ryu are organized on the usual ancient Japanese system of Shoden, Chuden, Okuden and Hiden. Although there is some relationship between each level of the techniques, each group has its own important points.
An interesting aspect of Koto ryu is that the techniques would work against a man dressed in modern clothing or armor of the type worn in ancient Japan. This reflects the fact that although the ancient ninja are often associated with the practice of espionage, a number of them saw action on battlefields of old Japan. Another interesting aspect of Koto ryu is that the concepts and techniques greatly compliment the ideas and techniques contained within Gyokko ryu.
The Kihon Waza of Koto ryu contain such basic techniques as rolling, hitting, jumping, and proper body conditioning. This last, that each ryu has its own conditioning associated with it, is often overlooked.
The Shoden Gata is contained in 18 methods. These methods deal with a variety of attacks and show the proper use of such striking techniques as kicks, head butts and different strikes with the hands. While on first examination, these techniques look fairly simple and straight forward, they are not, because of the number of situations under which they can be used. It should be noted that the Koto ryu has its own system of attacking the various weak points of the body and the study of how to match the proper body weapon to the point of what is being attacked is a rather wide area of study.
According to the book Dai Nippon Bugei Ryu Ha, the following provides an outline of the history of the Koto ryu. The names listed are those of the grandmasters of the system. There were, of course, a number of famous ninja and samurai trained in the techniques of the Koto ryu. For example, the famous ninja Ishikawa Goemon learned ninpo from his master, Momochi Sandayu. Goemon is best remembered for his role as Japan's "Robin Hood". Goemon also attempted to kill the famed leader Hideyoshi, but without success. According to popular legend, Goemon was eventually executed for his activities (a common fate for many at that time) but other Kuden states that he escaped this fate.
As mentioned earlier, the exact origin of koppojutsu is lost somewhere in the mist of ancient history. The techniques of the ryu were reorganized by Sakagami Taro in 1542 A.D. The man who was to become second headmaster of the ryu, Bando Kotaro Minamoto Masahide was killed in battle later in that same year. This event resulted in the ryu being passed to Sougyoku Kan Ritsushi.
While it is true that the techniques that were to become Koto ryu were brought to Japan from China, there is ample evidence that the teachings and techniques that were named "Koto ryu" at a much later date actually originated in ancient India where it was called "karanai". At that time, these techniques (actually what today is called koshijutsu and koshijutsu) were considered to be practically "miracle" techniques because these techniques enabled one to easily control or defeat an enemy with almost no effort.
When these techniques were imported into China (probably during the fall of the Han dynasty) it was part of the information flow that brought Buddhism into China from India. Although it would be nice if it were possible to narrow this transmission down to one man (much like is done by modern kung fu salesmen), there is really little reason to believe that these techniques were the property of just one individual. Granted they were not (and still are not) common knowledge, but they probably were changed, improved and adapted in China before they ever actually got to Japan.
Once this knowledge arrived in Japan, it was further developed and even today there is a continued process of change and development taking place. Once in Japan, the teachings of koshijutsu and koshijutsu quickly became the property of an elite group of families. Often, only one person in each generation was taught these techniques.
In the stream of martial arts that is today known as ninjutsu, the historic development of the fighting arts shows that the oldest of the taijutsu arts is koshijutsu (e.g. Gyokko ryu). This was followed by the development of an independent form of koppojutsu (e.g. Koto ryu) and this was followed even later by a system of koppojutsu based on the earlier systems. That is that the later Gikan ryu koppojutsu was a direct outgrowth of the teachings of Gyokko ryu and Koto ryu.
November 1995:
by Peter Carlsson
Kotō ryū in practice feels strong and compact, like a tense cat about to spring or explode into action. Kotō ryū, like Peter Carlsson points out, is called by the older name of koppōjutsu (骨法術), which are methods of breaking down not only the bones, but skeletal structure of the opponent. Kotō ryū shares a close relationship with Gyokko ryū (Jeweled Tiger school), as it was formalised into a ryuuha in the 15th century by Sakagami Taro Kunishige, the Soke of Gyokko ryū kosshijutsu.
Kotō Ryū Koppojutsu Kurai Dori (虎倒流骨法術位取り)
Migi Seigan no Kamae (True eye posture) - 右青眼之構
Facing the opponent, have the right hand straight out in seigan (青眼), pointing at the opponents eyes with a Fudouken (不動拳); keep the left hand at the shoulder in Kitenken (起転拳). Keep the legs separated with the right foot pointing at the opponent and the left leg and foot at a 45 degree angle back.
Hidari Seigan no Kamae (True eye posture) - 左青眼之構
Facing the opponent, have the left hand straight out in seigan (青眼), pointing at the opponents eyes with a Fudouken (不動拳); keep the right hand at the shoulder in Kitenken (起転拳). Keep the legs separated with the left foot pointing at the opponent and the right leg and foot at a 45 degree angle back.
Hira Ichimonji no Kamae (Balanced straight line posture) - 平一文字之構
Facing the opponent, stretch both arms out to the side in Kitenken (起転拳) while lifting one leg (migi or hidari) in Hichou (飛鳥).
Hoko no Kamae (Encircling posture) - 抱圍之構
Drop the hips and open the hands facing forward. This posture has the feeling of jumping forward with both hands and feet.
Bobi no Kamae (Defensive posture) - 防備之構
Facing the opponent, have the lead hand straight out with Kitenken (起転拳). Place the rear hand at the hip in Fudouken (不動拳).
Shoden Gata - 初伝型
Yokutō (Eliminating throw) - 抒投
The uke grabs the right lapel and left elbow to engage in a throw. The reason the uke grabs in this way is to stop the tori from drawing a weapon with his right hand.
The uke grabs the left lapel and right elbow. Lock down the opponents foot with the right foot and at the same time thrust into the yugasumi kinketsu (great auricular nerve along the sternocleidomastoid muscle) with a boshiken, during this movement shift the left leg behind in line with the right leg. With the right leg, thrust up to gedan (pubic symphysis), cross step with sokushin sokuhou, then step over the cross-step to realign the body. With the left palm, thrust into gankotsu (symphysis mandibular).
相手方が片袖片胸を捕り来る。・Come to take the opposite side of the sleeve and chest.
一、右手母指先で夕霞禁穴を突き上げる。・With the right hand thrust the thumb into the yugasumi kinketsu (area below the ear and behind the jaw).
二、右足腔にて下段を突き上げる。・With the right leg push up to the lower body cavity.
三、左手掌にて合骨を突き上げ、倒す。・With the palm of the left hand, thrust into the gankotsu (chin) and knock down.
Ougyaku (Sealing Oppression) - 押虐
The uke grabs the left elbow and engages with a right koshinage.
The uke attacks with koshinage (腰投 - hip throw). Drop centre of gravity and drive into the shichibatsu (where the sciatic nerve meets the hip) with the left hand, while at the same time covering the hip with the right hand. With a right fudoken, strike into the opponent's butsumetsu (axillary nerve), then knock them down.
Kōyoku (Resistant Elimination) - 抗抒
The uke strikes with a migi jodan tsuki.
The opponent attacks with a migi jodan tsuki. Shift slightly back while deflecting the strike with the left arm and then shift forward with a niouken to the omote kimon (serratus anterior), then bring the left arm underneath the opponents right armpit and throw with a hidari seoi nage.
Shitō (Extended felling) - 拡倒
The uke grabs both lapels to throw, push or unbalance the opponent.
The opponent grabs both lapels. Cover the left hand of the opponent and strike to the opponent's kasumi (Sphenoid bone) with the right fist in a koppoken (骨法拳). Take the opponent's left hand in an omote gyaku and throw. After the koppoken the right hand can come over the opponents right grabbing arm and lock it down with the elbow or armpit, or it can come under the opponent's right arm locking with the elbow.
Hosoku (Capture and Seize) - 捕捉
The uke grabs the lapel and pulls the tori into a joudan tsuki.
The opponent grabs the (left) lapel and strikes with a migi joudan tsuki. Deflect the jodan tsuki with migi jodan uke, then strike to the opponent's hidari koe with the left hand in boshiken. Strike with kikakuken to the opponent's menbu.
Hoteki (Scoop and Throw) - 放擲
Ougyaku (Sealing Oppression) - 押虐
The uke grabs the left elbow and engages with a right koshinage.
The uke attacks with koshinage (腰投 - hip throw). Drop centre of gravity and drive into the shichibatsu (where the sciatic nerve meets the hip) with the left hand, while at the same time covering the hip with the right hand. With a right fudoken, strike into the opponent's butsumetsu (axillary nerve), then knock them down.
Kōyoku (Resistant Elimination) - 抗抒
The uke strikes with a migi jodan tsuki.
The opponent attacks with a migi jodan tsuki. Shift slightly back while deflecting the strike with the left arm and then shift forward with a niouken to the omote kimon (serratus anterior), then bring the left arm underneath the opponents right armpit and throw with a hidari seoi nage.
Shitō (Extended felling) - 拡倒
The uke grabs both lapels to throw, push or unbalance the opponent.
The opponent grabs both lapels. Cover the left hand of the opponent and strike to the opponent's kasumi (Sphenoid bone) with the right fist in a koppoken (骨法拳). Take the opponent's left hand in an omote gyaku and throw. After the koppoken the right hand can come over the opponents right grabbing arm and lock it down with the elbow or armpit, or it can come under the opponent's right arm locking with the elbow.
Hosoku (Capture and Seize) - 捕捉
The uke grabs the lapel and pulls the tori into a joudan tsuki.
The opponent grabs the (left) lapel and strikes with a migi joudan tsuki. Deflect the jodan tsuki with migi jodan uke, then strike to the opponent's hidari koe with the left hand in boshiken. Strike with kikakuken to the opponent's menbu.
Hoteki (Scoop and Throw) - 放擲
The uke grabs the lapel and pulls the tori into joudan tsuki.
The opponents grabs the (left) lapel and strikes with migi joudan tsuki. Deflect the joudan tsuki with hane age shutou, then grab the wrist fingers facing down with the right hand. With the left hand, slide up the opponents arm and grab above the elbow while twisting the arm clockwise. Drop to one left knee and throw.
Shatō (Oblique Felling) - 斜倒
The uke grabs the lapel and pulls the tori into joudan tsuki.
The uke grabs the (right) lapel and strikes with hidari joudan tsuki. Deflect the joudan tsuki with joudan uke, strike to the yugasumi kinketsu (with koppou ken or shitou ken) and immediately follow up with a kick to the uke's gedan.
The opponent grabs the chest with both hands. Strike down to the opponents hands with Niouken (仁王拳) and shift back. Kick up to the opponents Gorin (五輪 - five points around the umbilicus) with the rear leg, then knock him down.
Sakugeki (Crushing (an) Attack) - 搾撃
The uke grabs both of the tori's lapels.
The uke goes to grab both of the tori's lapels, but the tori evades the grab by shifting back and strikes up to the asagasumi with a right boshiken while covering the the uke's right hand with the left hand. Cross-step in with sokushin sokuhou to the right and kick to back of the uke's knee on his leading leg.
Tangeki (Bearing (an) Attack) - 擔撃
The uke strikes with a left fudo ken tsuki and then follows up with a right fudo ken tsuki.
The uke comes in with a right tsuki. Jodan uke up with an open palm facing the uke while shifting back, intercepting the tsuki. The uke follows up with a left tsuki, Jodan uke up with an open palm facing the uke. The body should now be in houko no kamae. Sokushin sokuhou back with the lead leg, then kick up to the uke's chest with the flat of the foot.
Batsugi (Removal Technique) - 拔技
The uke grabs the lapel to pull or push the tori.
The uke grabs the lapel and the tori shifts back with the rear leg and strikes the back of the uke's hand with koppo ken, then covers and removes the hand, while shifting back with the other leg to take the uke's balance. The tori should now be in hoko no kamae. Sokushin sokuhou with the lead leg, strike to the uke's face with shako ken with the lead hand, then apply omote gyaku to the wrist.
Settō (Break and Fell) - 折倒
The uke grabs the arm to throw.
The uke grabs the arm, shift forward and strike to the thoracodorsal artery and nerve (area where the arm and shoulder meet). Bring the arm over the uke's arm and drive in with a boshiken to the uke's butsumetsu.
Shihaku (Checkmate [Clap of playing a Chess piece]) - 指拍
The uke strikes with the left fist and then with the right fist. When the tori kicks to the gedan, perform gedan uke.
Perform jodan uke when the first strike comes in and again with the second strike. Sokushin sokuhou with the left leg drawing back and feint a kick to the suzu with the right leg. When the uke does gedan uke, strike to the ribs with niouken.
Kyogi (Rejecting Technique) - 拒技
The uke strikes with the left fist and then with the right fist.
Perform jodan uke and perform sokushin sokuhou to evade the second strike. Sweep the uke's rear leg toki (ankle), while at the same time striking to the hip with niouken.
Kakkō (Binding Torture) - 括拷
The uke strikes with the left fist in niouken and then with the right.
From a left seigan, when the uke attacks, sokushin sokuhou shifting the rear leg behind, then kicking to the sai. At the same time, strike to the face with ittousantou, three strikes in one. This is striking with the three fingers together, striking with the bottom of the fist and finishing with niouken, all to the same point at the same time.
Uranami (Wavebreaker) - 浦波
The uke strikes with the left fist in niouken and then with the right.
From a right seigan, jodan uke the first and second strike then use sokushin sokuhou to move to the inside of the uke. Use kerikaeshi and kick to the lead leg yaku (calf) with the lead leg. Strike with two shitouken into both sides of the amedo.
Tenchi (Heaven and Earth) - 天地
The uke strikes with the left fist in niouken and then with the right.
From a right seigan, jodan uke the first strike and evade the second strike, sokushin sokuhou, then kick up to the suzu with the lead leg using the toes. At the same strike with shakoken to the hidaritojin of the face.
Katamaki (Sidewinder) - 片巻
The uke strikes with the left fist in nioken and then with the right.
From a right seigan, jodan uke the first strike and then the second. Step into the uke's arm and coil the arm over and then under, locking the uke's arm straight. Step through with sokushin sokuhou and strike to the butsumetsu (chest) with koppouken.
Hekito Gata - 劈刀型
Sokuboku (Simple Kick) - 蹴朴
As the uke, cut down on the opponent's head from daijodan no kamae.
From migi seigan no kamae, as the cut comes down, take a small step with the left foot to the left and then pivot the right foot around off line of the cut. With the left hand cover the opponent's lead hand, then kick up to the hoshi of the opponent's rear arm. The opponent drops the sword. Strike into the opponent's face with shako ken and knock him down.
Bokuhen (Simple Fade) - 朴返
As the uke, thrust with a tsuki with the blade facing to the right. As the tori evades, cut horizontally to the right following them. Bring the sword up to daijodan and cut down to the opponent's head.
From hira ichimonji no kamae, use shihou tobi to jump back to the left using the right leg. When the uke moves into daijodan for the next attack, move in immediately and cover the uke's rear arm with the right hand while at the same time covering the uke's lead hand with the right elbow. Kick into the suigetsu with the right leg and knock the uke down.
Dakou (Rapping Strike) - 打扣
As the uke, from chudan no kamae, step forward using sokushin sokuhou and thrust into the opponents centre mass.
From hoko no kamae, sokushin sokuhou to the left and shift forward. With the left hand catch hold of the uke's right wrist and strike strongly into the back of the hand with niouken. If the uke drops the sword, turn the body to the right and kneel down onto the uke's left leg. If the uke does not drop the sword, use the other hand to grab hold of the uke's right wrist, sokushin sokuhou to the left and bring the blade back on the uke. In both cases the uke falls down face up.
Shuriki (Arm strength) - 手力
As the uke, cut down from daijodan no kamae.
From bobi no kamae, sokushin sokuhou to the left with the rear leg behind. Step with the lead leg and cover the uke's wrist with the rear hand while striking down to the nagare with the lead hand. Cover the wrist with the lead hand while shifting forward and striking to the uke's eyes with the rear hand using a shutou.
Kibō (Aspiring Hope) - 跂望
As the uke, cut down from daijodan no kamae.
From hidari seigan no kamae, sokushin sokuhou to the left with the rear leg behind. Cover the uke's lead arm with the lead arm and strike with the rear arm into the uke's jakkin. At the same time kick into the uke's butsumetsu with the rear leg.
Bakko (Domination) - 跋扈
As the uke, cut across from chudan no kamae into the tori.
From bobi no kamae, as the uke come into cut from the right side, shift in and cover the lead hand with the left hand. Use the right hand to strike into the uke's jin and knock them down.
Sekiryoku (Sole of the foot power) - 跖力
As the uke, cut down from daijodan.
From hoko no kamae, shift forward and drop to the left knee in a kneeling position, while covering the uke's arms and elbows. Strike to the uke's suigetsu.
Kahi (Striding Wing) - 跨飛
As the uke, strike with the right fist and then with the left. Grasp the tori's left wrist with your left hand, then strike to the kasumi with happōken. Pull the left wrist towards you and apply koshinage.
Deflect the first and second strikes. Raise the elbow into the tori's butsumetsu, then step forward striking to the uke's face/throat with niouken, knocking them down.
Gohi (Leaping Rat) - 鼠飛
As the uke, walk towards the tori.
Leap in and strike up below the chin with shitanken with the lead arm. Turn the hand palm down and push down into the area below the adam apple. Strike in with shikanken (this strike is also known as nezumitori, how a cat catches a rat). With the rear hand strike to the opponent's asagasumi with shikanken. Pull back and assume zanshin.
Hetsubi
As the uke, walk towards the tori.
Leap in and strike up below the chin with shitanken with the lead arm. Turn the palm down and push down into the area below the adam apple, strike to the face with happōken, then thrust into the jinchu, jump back and assume zanshin.
Tekigaeshi
As the uke, walk towards the tori.
With rear hand in boshiken, thrust into the jakkin and follow up with a kick to the uke's sai with the rear leg. Assume zanshin.
Koto
As the uke, walk towards the tori.
Leap in and strike up below the shin with shitanken with the lead arm. Turn the palm down and push down into the area below the adam apple, then kick up to the suzu with the rear leg. Assume zanshin.
Kakuhi
As the uke, grab the tori's chest with both hands.
Strike to the asagasumi with the lead hand in a shuto. Cover the uke's other hand with your rear hand, the shift in and execute uchi mata (use the lead hand on the uke's shoulder blade to power the throw).
Dakou (Rapping Strike) - 打扣
As the uke, from chudan no kamae, step forward using sokushin sokuhou and thrust into the opponents centre mass.
From hoko no kamae, sokushin sokuhou to the left and shift forward. With the left hand catch hold of the uke's right wrist and strike strongly into the back of the hand with niouken. If the uke drops the sword, turn the body to the right and kneel down onto the uke's left leg. If the uke does not drop the sword, use the other hand to grab hold of the uke's right wrist, sokushin sokuhou to the left and bring the blade back on the uke. In both cases the uke falls down face up.
Shuriki (Arm strength) - 手力
As the uke, cut down from daijodan no kamae.
From bobi no kamae, sokushin sokuhou to the left with the rear leg behind. Step with the lead leg and cover the uke's wrist with the rear hand while striking down to the nagare with the lead hand. Cover the wrist with the lead hand while shifting forward and striking to the uke's eyes with the rear hand using a shutou.
Kibō (Aspiring Hope) - 跂望
As the uke, cut down from daijodan no kamae.
From hidari seigan no kamae, sokushin sokuhou to the left with the rear leg behind. Cover the uke's lead arm with the lead arm and strike with the rear arm into the uke's jakkin. At the same time kick into the uke's butsumetsu with the rear leg.
Bakko (Domination) - 跋扈
As the uke, cut across from chudan no kamae into the tori.
From bobi no kamae, as the uke come into cut from the right side, shift in and cover the lead hand with the left hand. Use the right hand to strike into the uke's jin and knock them down.
Sekiryoku (Sole of the foot power) - 跖力
As the uke, cut down from daijodan.
From hoko no kamae, shift forward and drop to the left knee in a kneeling position, while covering the uke's arms and elbows. Strike to the uke's suigetsu.
Kahi (Striding Wing) - 跨飛
Chuden Gata - 中伝型
Suito (Slow Felling) - 夊倒As the uke, strike with the right fist and then with the left. Grasp the tori's left wrist with your left hand, then strike to the kasumi with happōken. Pull the left wrist towards you and apply koshinage.
Deflect the first and second strikes. Raise the elbow into the tori's butsumetsu, then step forward striking to the uke's face/throat with niouken, knocking them down.
Gohi (Leaping Rat) - 鼠飛
As the uke, walk towards the tori.
Leap in and strike up below the chin with shitanken with the lead arm. Turn the hand palm down and push down into the area below the adam apple. Strike in with shikanken (this strike is also known as nezumitori, how a cat catches a rat). With the rear hand strike to the opponent's asagasumi with shikanken. Pull back and assume zanshin.
Hetsubi
As the uke, walk towards the tori.
Leap in and strike up below the chin with shitanken with the lead arm. Turn the palm down and push down into the area below the adam apple, strike to the face with happōken, then thrust into the jinchu, jump back and assume zanshin.
Tekigaeshi
As the uke, walk towards the tori.
With rear hand in boshiken, thrust into the jakkin and follow up with a kick to the uke's sai with the rear leg. Assume zanshin.
Koto
As the uke, walk towards the tori.
Leap in and strike up below the shin with shitanken with the lead arm. Turn the palm down and push down into the area below the adam apple, then kick up to the suzu with the rear leg. Assume zanshin.
Kakuhi
As the uke, grab the tori's chest with both hands.
Strike to the asagasumi with the lead hand in a shuto. Cover the uke's other hand with your rear hand, the shift in and execute uchi mata (use the lead hand on the uke's shoulder blade to power the throw).