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GYOKKO-RYU KOSSHIJUTSU

by Unsui
1) HISTORY
Founder Toda Sakyo Isshinsai received the tradition of Gyokko-Ryu Shitojutsu from
Sakagami Taro Kunishige in the Tenmon period (1532-1550), and created
Gyokko-Ryu Kosshijutsu and Koto-Ryu Koppojutsu, which he taught to Momochi
Sandayu and were handed down within Iga-Ryu Ninjutsu and reached Toda Shinryu
ken at the end of the Tokugawa shogunate (mid-l9th century). Thus the foundation
of the Togakure Ryu, which draws upon the traditions of Iga Ryu, is the Taijutsu of
Gyokko-Ryu Kosshijutsu and Koto-Ryu Koppojutsu.
2) THE KAMAE OF GYOKKO-RYU KOSSHIJUTSU
Migi Ichimonji no Kamae
The legs are open, the hips lowered, the right hand and arm straightened, and the
left fist held loosely with the thumb sticking up is rested on the right elbow. The
face is placed in the gap between the hands. The tip of the right hand faces the
opponent's heart. Stare at the opponent's eyes with the intention of piercing his
heart.
Hidari Ichimonji no Kamae
Same as Migi, but with the left side forward.
Migi Hicho no Kamae
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 and face are 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.
Hidari Hicho no Kamae
Same as Migi, but with the left foot forward.
Migi Jumonji no Kamae
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.
Hidari Jumonji no Kamae
Same as Migi, but with the left side forward.
Copyright 1999, Jissen Kobudo Jinenkan, all rights reserved.
--------------------------------------------------------------------------------------------------------------------------GYOKKO-RYU KOSSHIJUTSU
byUnsui
3 ) GYOKKO-RYU TAIHENJUTSU KIHON-GATA
(These are for practicing the Gyokko Ryu's basic ways of moving the body.)
Hira no Kamae
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.
Ichimonji no Kamae
From left Ichimonji no Kamae, roll to your right against your opponent' s cut, and
immediately leap in

to strike the opponent's Suigetsu with a right Boshiken thumb strike. (This is
practice for forward rolling and forward handsprings.) Both sides.
Jumonji no Kamae
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.
4 ) GYOKKO-RYU MOTO-GATA
(These are for teaching the body the circular movements which are characteristic
of the Gyokko Ryu.)
Migi Ichimonji no Kamae
Stand in right Ichimonji no Kamae. The opponent comes in with a right strike to the
face. Pulling your left foot back to your left, roll your right hand to your right while
making a fist and strike the left wrist or Hoshi. Bringing your left foot forward, roll
your left hand over to tbe left to turn into a shuto striking into the muscles of the
right side of the opponent's neck.
Hidari Ichimonji no Kamae
The opposite of Migi.
Migi Hicho no Kamae
Stand in right Hicho no Kamae. The opponent comes in with a strike or kick to the
Suigetsu. Bringing your right hand down across your left side, strike away the
opponent's strike or kick, kick into your opponent's Suigetsu with the right foot and
move forward to strike into the muscles on the right side of the opponent's neck
with a left shuto.
Hidari Hicho no Kamae
The opposite of Migi.
Jumonji no Kamae
Stand in right Jumonji no Kamae. The opponent comes in with a left, then a right
punch to the face. Pull your left foot back and to the left slightly and strike the
opponent's left Hoshi or left wrist with your right fist. Leaving your feet in place
shift your body forward and thrust into the opponent's Kimon with a right-hand
Boshiken. Open your right hand slowly, move your right foot back and bring your
right hand back inside your left, and then pull your right foot back and to the right
slightly and strike the wrist or Hoshi of the opponent's right arm as he punches
again. Leaving your feet in place shift your body forward and thrust into the
opponent's Kimon with a left Boshiken. Slowly opening your left hand, return to the
original kamae.
COPYRIGHT (C) 1999, JISSEN KOBUDO JINENKAN. ALL RIGHTS RESERVED.
GYOKKO-RYU KOSSHIJUTSU
by Unsui
3 ) GYOKKO-RYU TAIHENJUTSU KIHON-GATA
(These are for practising the Gyokko Ryu's basic ways of moving the body.)
Hira no Kamae
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.
Ichimonji no Kamae
From left Ichimonji no Kamae, roll to your right against your opponent' s cut, and
immediately leap in to strike the opponent's Suigetsu with a right Boshiken thumb

strike. (This is practice for forward rolling and forward handsprings.) Both sides.
Jumonji no Kamae
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.
4 ) GYOKKO-RYU MOTO-GATA
(These are for teaching the body the circular movements which are characteristic
of the Gyokko Ryu.)
Migi Ichimonji no Kamae
Stand in right Ichimonji no Kamae. The opponent comes in with a right strike to the
face. Pulling your left foot back to your left, roll your right hand to your right while
making a fist and strike the left wrist or Hoshi. Bringing your left foot forward, roll
your left hand over to the left to turn into a shuto striking into the muscles of the
right side of the opponent's neck.
Hidari Ichimonji no Kamae
The opposite of Migi.
Migi Hicho no Kamae
Stand in right Hicho no Kamae. The opponent comes in with a strike or kick to the
Suigetsu. Bringing your right hand down across your left side, strike away the
opponent's strike or kick, kick into your opponent's Suigetsu with the right foot and
move forward to strike into the muscles on the right side of the opponent's neck
with a left shuto.
Hidari Hicho no Kamae
The opposite of Migi.
Jumonji no Kamae
Stand in right Jumonji no Kamae. The opponent comes in with a left, then a right
punch to the face. Pull your left foot back and to the left slightly and strike the
opponent's left Hoshi or left wrist with your right fist. Leaving your feet in place
shift your body forward and thrust into the opponent's Kimon with a right-hand
Boshiken. Open your right hand slowly, move your right foot back and bring your
right hand back inside your left, and then pull your right foot back and to the right
slightly and strike the wrist or Hoshi of the opponent's right arm as he punches
again. Leaving your feet in place shift your body forward and thrust into the
opponent's Kimon with a left Boshiken. Slowly opening your left hand, return to the
original Kamae.
COPYRIGHT (C) 1999, JISSEN KOBUDO JINENKAN. ALL RIGHTS RESERVED.
______________________________________________________________________
GYOKKO-RYU KOSSHIJUTSU
by Unsui
5 ) TORITE KIHON-GATA
(These techniques are for the purpose of practising how to use basic joint locks as
well as the circular movement characteristic of the Gyokko Ryu. The defender begins
from a natural standing position.)
(1) Opponent grabs Defender's lapel with his left hand. Defender catches with his
right hand in Omote Gyaku, pulls his left foot back a bit and lifts his right hand
high while dropping his hips, pulls his right foot back, and adds his left hand to drop
Opponent by rolling his hand over. Opponent falls face-up.

(2) Opponent grabs Defender's lapel with his right hand. Defender catches with his
left hand in omote gyaku, and what follows is the opposite of the previous
technique.
(3) Opponent grabs Defender's lapel with his left hand and strikes with his right
fist. Defender strikes (the arm) upward with his left fist and at the same time
catches Opponent's left hand in omote gyaku with his right hand and throws just
as before.
(4) Opponent grabs Defender's lapel with his right hand and strikes with his left
fist. What follows is the opposite of the previous technique.
(5) Opponent comes and grabs Defender's lapel with his left hand. Defender catches
Opponent's left hand with his left hand in Ura Gyaku and steps back with his left
foot pulling the opponent's hand down in a wrist reverse, then suddenly changes,
reaching his right hand over Opponent's hand to catch it in omote gyaku, then pulls
his right foot back and adds his left hand to throw Opponent.
(6) Opponent comes and grabs Defender's lapel with his right hand. What follows is
the opposite of the previous technique.
(7) Opponent comes and grabs the cuff of Defender's right sleeve with his left hand.
Defender pulls his right arm together with his body to his right side. Dropping his
hips and making a sufficiently large wrapping motion from below to above to the
outside of Attacker's arm, Defender all at once locks the arm and kicks Opponent's
knee joint with his right foot to take him down face-up. (This is called Musha Dori)
(8) Opponent comes and grabs the cuff of Defender's left sleeve with his right
hand. What follows is the opposite of the previous technique.
(9) Opponent catches Defender's right sleeve with his left hand. Defender pulls his
right arm and right foot back together with his body. When Opponent pulls back,
Defender enters and wraps Opponent's left arm from the inside with his right hand
and brings his left hand up to meet the right, then turns his left foot back behind
him to throw Opponent with the joint lock. For this movement the position of
Defender's feet should make a straight line with Opponent's.
(10) Opponent catches Defender's left sleeve with his right hand. What follows is
the opposite of the previous technique.
COPYRIGHT (C) 1999, JISSEN KOBUDO JINENKAN. ALL RIGHTS RESERVED.
GYOKKO-RYU KOSSHIJUTSU
by Unsui
6) JORYAKU NO MAKI
(From the Tenryaku Uchu Gassho hand position, change to left Ichimonji no Kamae
to begin. The meaning of Tenryaku Uchu Gassho is becoming one with Nature ~
entering a state of gmuh [emptiness].)

Koku...........The technique's meaning is to make somebody kick empty space. What is


important in this technique is leaving your body in a place that is easy for the
enemy to kick. Also, there are three directions for stepping with the right foot
depending on the distance.
Renyo..........The meaning of the technique is to tumble your opponent like a wheel. The
important point of this technique is the locking method, but if the enemy escapes,
use that to your advantage, kicking and simultaneously re-catching the opponent
with Omote Gyaku and throwing.

Danshu........The meaning of the technique is a bouncing Shuto. What is important in


this technique is, after striking with the left fist, using that rebounding motion to
strike with Shuto as though cutting.
Danshi.........The meaning of the technique is a bouncing finger (thumb). The
important point here is after striking with the left fist, striking down from above
into the Kimon with a turning motion of the wrist.
Sakanagare.....The meaning of the technique is to reverse the flow. What is
important in this technique is to strike the back of the enemy's hand when receiving
to the outside, and when receiving the adversary's kick, to do so with a sideward
swinging motion of your knee.
Keo............The technique's meaning is the appearance of a bird flapping its wings.
The important point of this technique is, when striking down both the adversary's
hands, to beat downwards in a large movement like a bird flapping its wings.
Hanebi........The meaning of this technique is the image of sparks popping from a fire.
What is important in this technique is, when evading the adversary's kick, dropping
your body as low as possible then standing up suddenly and pressing the other way,
and throwing the opponent over in a big motion.
Keto...........The meaning of this technique is in the manner of knocking down a gate.
What is important here is how you do the final kick. Essentially, you are putting
your body weight onto the right foot and keeping it there in order to stomp the
opponent right to the ground.
Yubi Kudaki....This technique's meaning is to crush the opponent's finger. The
important point is to grasp the adversary's right little finger with your right hand
while dropping your hips, and when the adversary pulls away slightly, not missing
that timing to drive into his chest with your left fist.
Ketsu Myaku....The meaning of the technique is to choke off blood flow. What is
important in this technique is to cause pain before the opponent's Sankaku-Jime
choke is fully applied and then throw.
Sakketsu.......The meaning of the technique is to squeeze to death. What is
important here is to stick the arms out and push your hips back sufficiently.
Teiken........The meaning of the technique is the appearance of a bull or horse kicking
with its hooves. The important point of the technique is pulling your hips out far
enough to the left side.
COPYRIGHT (c) 1999, JISSEN KOBUDO JINENKAN. ALL RIGHTS RESERVED.
--------------------------------------------------------------------------------------------------------------------------GYOKKO-RYU KOSSHIJUTSU
by Unsui
7) CHURYAKU NO MAKI
(From Futen Goshin Gassho change to Ichimonji no Kamae to begin. The meaning of
Futen Goshin Gassho is that Nature is one's protector)
Ujaku.............The meaning of the technique is [to move] quickly, like s Korean crow
(magpie). The important point in this technique is, when slipping in under the
adversary's arm, to get one's body low and simultaneously to stick with one's back
against the opponent.

Seito.............The name of the technique means a Saba (mackerel). Moving with speed
and power. What is important in this technique is that when you grab the
adversary's shoulder with your right hand, you reach across with the intention of
using Metsubushi (attacking the eyes).
Dashin...........This technique's name means to jolt and pull down. The important point
here is in striking the adversary's thumb with Shuto when knocking his short sword
down.
Korai.............This technique means to throw down a tiger. The important point of the
technique is the same as in the previous technique gUjakuh.
Ko/Hane Tsurube...The meaning of the technique's name is to use leverage. What is
important in this technique is that you not try to catch the adversary's kicking leg
on your arm, but instead place it onto your shoulder.
Shi-En...........This technique's name means strength and cleverness (a lion and a
monkey). The important point in this technique is, when kicking the adversary's right
kick (Keri Kaeshi) with your right leg, to kick upward using the momentum of a
spinning motion with the body.
Horaku...........The technique's name means a mountain crumbles and falls. What is
important here is that when avoiding the opponent's thrust you pull your left foot
slightly back to close the distance, and hug the adversary's arm into your armpit.
Copyright (C) 1999, Jissen Kobudo Jinenkan. All rights reserved.
--------------------------------------------------------------------------------------------------------------------------GYOKKO-RYU KOSSHIJUTSU
by Unsui
(Third Scroll)
8)GERYAKU NO MAKI
(From Han-o Han-eki Gassho gMizu-Jujih, change to Ichimonji no Kamae. The meaning of Han-o
Han-eki Gassho is gaining a large advantage by not trying to match the opponent's anovements.)
Shun-U..........The meaning of the technique is to be swift like a falcon. The important point of this
technique is to thrust into the base of the opponent's nose with a right Boshiken and at the same time
press against the grip of his sword.
Shunsoku........The meaning of this name is footwork that is as quick as a falcon. What is important
here
is to take a step in while pushing down with the left hand which is controlling the sword handle.
Ichigeki........This technique's meaning is to shoot down the adversary with a single blow. The
important
point in this technique is to push the opponent's right elbow up high enough to disbalance him while
entering into the next motion.
Kaisoku.........The name of the technique means superior footwork. In this technique, what is important
is to bounce the opponent over with 0-Soto in the process of putting down your right foot after kicking
up with it.
Kuryaku.........The meaning of the technique is to scoop away or snatch away. The important point of
this technique is to keep your right arm slightly lower when using your body for Sutemi (the body
drop).
Iai-Fu..........The technique's meaning is to match the opponent's energy and envelop him. What is

important in this technique is to keep your left fist directly above your head when you receive the
opponent's Daijodan so you are not hit in the top of the head with the handle of the sword.
Chingan.........The meaning of this technique's name is to lower your posture like a wild goose coming
down. The important thing in this technique is to get low enough when turning to the left and sinking
down, building up strength and then making the next movement.
Fu-Mo...........The name of this technique means a big wind. The important point here is that the right
and left hands make a large and simultaneous opening movement.
COPYRIGHT (C) 1999, Jissen Kobudo Jinenkan. All rights reserved.
GYOKKO-RYU KOSSHIJUTSU
by Unsui
9) SUMMARY OF GYOKKO RYU
I have been telling various things about the Gyokko Ryu, and now I would like to sum up. As I
mentioned in the beginning, the core of Gyokko Ryu is Kosshijutsu, which developed from Shitojutsu,
but there is also Ninpo. It follows that of course there are also Kenjutsu, every type of Bojutsu, and
more. Momochi Sandayu studied the Koto Ryu and Gyokko Ryu and founded Iga-Ryu Ninjutsu, so
for each type of technique in Togakure-Ryu Ninjutsu, which derived from Iga-Ryu Ninjutsu, the source
is found in Gyokko-Ryu Ninpo. For this reason, around the 40~ year of Showa (1965), we chose
Togakure-Ryu Ninpo, for its name value, and since this was the same as learning Gyokko-Ryu Ninpo,
we only studied Togakure-Ryu Ninpo.
Next I will introduce the Ken (fists), Keri (kicks), and Taihenjutsu (body movement) of Togakure-Ryu
Ninpo Taijutsu.
(Note: The * asterisk indicates common to Koto Ryu and Gyokko Ryu. No mark indicates only found
in Gyokko Ryu.)
I. KEN
* Kikaku-ken (using the front of the head); * Shuki-ken (using the elbow); * Fudo-ken or Nio-ken (a
fist with the thumb clenched on the outside); * Kitenken (a shuto "sword-hand"); Shishin-ken (using
the little finger); * Shitanken (using the five fingers freely); * Shako-ken or Shihan-ken (using the
fingertips and the palm); * Shito-ken (using the thumb); Shiyaku-ken (making a fist and using the
second knuckle of the middle finger); Shikan-ken (gripping the fist so the palm is rounded and using
the second knuckles of the four fingers); * Koppo-ken (using the first knuckle of the thumb); *
Happaken (using the palm of both hands); * Tai-ken (using every part of the body)
II.
KERI (Here I will refer to kicks also as "-ken")
* Sokuyaku-ken (using the heel); * Sokki-ken (using the knee); * Sokugyaku-ken (using the toes)
III. TAIHENJUTSU
* Zenpo Kaiten (forward roll); * Sokuho Kaiten (sideward roll); * Koho Kaiten (backward roll); *
Zenpo
Tenkai (forward handspring); * Koho Tenkai (backward handspring); * Sokuho Tenkai (side
handspring); * Yoko Nagare (sideward body drop); * Tate Nagare (rear body drop); * Zenpo Ukemi
(forward breakfall); * Zenko-Sayu-Joge Choyaku (leaping forward, backward, left, right, up and down)
I ought to have explained these things at the beginning of the Gyokko Ryu articles, but I began
abruptly with Kamae, so I will put this at the end.
In any case, it is best to learn each kata as a form to follow. In a real fight, your own body will
react naturally to the opponent's movements. It is better not to have your own "best" techniques. It
is always easy to take counter-measures against a gfavouriteh technique. In essence, that gbesth
technique will become a weakness.
COPYRIGHT ~ 1999, JISSEN KOBUDO JINENKAN. ALL RIGHTS RESERVED

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