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NOTE FROM THE Pl:BUSHER

This book IS presented only as a means of preserving a untque aspect of the hentage of the martial arts. 'either the pubhsher nor the author makes any representation , warranty, or guarantee that the techntques descnbed or illustrated In it wHI be safe or effective In any self-defense Situation or otherWise. Readers may be Injured If they apply or train In the techntques illustrated. To mlnlml: e the nsk of Injury, nothing descnbed In thiS book should be undertaken without personal and expert InstruCtlon In addmon , a phYSICian should be consuhed before deCiding whether to attempt any of the techntques deSCribed . Federal, state, or local law may prohibit the use or the possession of any of the weapons deSCribed or tllustrated In thiS book peclflc self-defense responses Illustrated In these pages may not be justified In any particular situation or apphcable under federal , state , or local law Neither Ihe publisher nor the author makes any representation or warranty regarding the legality or appropriateness of an)' weapon or techmque mentioned In thIS book.

The names of modern and contemporary Japanese appear In the Western order, whHe those of hlstoncal ftgures (pre-1868) are wntten In the tradmonal order: surname preceding given name.

For reference , the following chan shows those periods of Japanese hIstory Ihat wtll be most relevant to the dISCUSSIon . PERIOD

AME

ara Helan Kamakura Muromachl anbokucho Sengoku Azuchl-Momoyama Edo MelJI Talsho Showa Heisel

APPROXIMATE DATES (A.D.) 710-7 4 794- 1192 1192- 1333 1336-1573 1336-1392 1467-156 1573- 1600 1600-1868 1868-1912 1912-1926 1926-1989 1989-

(Hlstonans do nOt agree on exactly when Ihe vanous penods started and ended , so the dates hsted are approxImate. Japanese writing often refers as well to nengo, or shorter penods named after each relgmng emperor. Some of these WIll be Introduced where relevan!.)

EdIted tn cooperauon with Musashl EdItorial Ltd., and Matt Cotterill.

Distributed in the United tates by Kodansha Amenca , LLC, and in the United Kingdom and conttnental Europe by Kodansha Europe Ltd . Pubhshed by Kodansha Internattonal Ltd ., 17- 14 Otowa l -chome , Bunkyo-ku , Tokyo 112- 8652. Copynght © 2008 by Masaakt Hatsum!. Translauon 2008 by Doug Wilson, Bruce Appleby, and CraIg Olson. All rights reserved . Printed in Japan. I BN 978-4-7700-3059- 7 LCC 2008018074 fIrSt edttion , 2008 181716151413121110 0908

www.hodansha-intl.com

151413 12 11 109876543

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CONTENTS

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I T RO D CTION

The True Meaning of Budo Taijutsu Happo Budo Taijutsu Awakening 10 The Bible of Martial Artists 12 Bujinkan Budo Taijutsu Today 13

I

CHA PTE R

1

Kihon Happo

Gyokko-ryu Kihon Happo 16 Training in the Kihon Happo 16 Words from Takamatsu Sensei on the Gyokko-ryu Kosshi Koppo jutsu and Koto-ryu 20

C H APTE R

Sanshin no Kata and Ukemi gata Taihenjutsu The Essence of the Sanshin no Kata 34 The Significance of Paying Respect to th e Mirror 34 Sanshin no Kata 36 Ukemi gata Taihenjutsu 42 Taihen kemi gata 42

Kihon Happo gata 21 Kosshi Sanpo 22 Torite Kihon gata Goho 27

I

C H A PTE R

3

Gyokko-ryu Kosshi jutsu

Kosshi Sanryaku 46 Bushido and Kosshi jutsu 48 Facing the Opponent 48 Joryaku 49 Churyaku 52 Geryaku 54 Gyokko-ryu Kosshi jutsu 66

2

Taihenjutsu Muto-dori gata 42

I

CHAP TE R

4

Koto-ryu Koppo Jutsu

From Great Swordsmen to Clarifying the Way Characters Are Read 70 Koppo jutsu 72 Shoden gata 75 Koto-ryu Koppo jutsu Kurai dori 76 Koppo 82 Hekito gata 88 Chuden gata 92 Okuden gata 94 Kaiden gata 98

C HA P TE R

5

Togakure-ryu Ninpo Taijutsu Secrets of inpo Taijutsu 102 Attacking and Defending at Will 104 Taijutsu and inja 106 Taijutsu ukemi gata 108 Shinobi gaeshi gata 108 Hiden gala 109

C HA PT ER

7

Shinden Fudo-ryu Daken Taijutsu Shinden Fudo-ryu Shizen Shigoku no Ichi 14-+ Compassion Is Benevolence 147 The Practice of Shinden Fudo-ryu 148 Shinden Fudo-ryu no Kamae 148 Sudden Change Will Always Prevail 149 Shinden Fudo-ryu Daken Taijutsu 150 Ten no Kata (lkken hasso) 154 Chi no Kata (Hiken isshun) 158 Shizen shigoku no Kata 162

C HA PTE R

6

Takagi Yoshin-ryu Jutaijutsu Life Taijutsu 114 Koteki Ryoda JuPpo Sessho no Jutsu 116 Takagi Yoshin-ryu Jutaijutsu 118 Omote gata 124 Ura gata 127 Eri jime gala 128 Sabaki gala 130 Tai no Kala 132 Muto-dori gata (Muto-doriJujiron ) 136 Daisho Sabaki gala 138 Shirabe gala 141 Moguri gata 142

C HA PTE R

8

Kukishin-ryu Daken Taijutsu Mysteries of Kukishin-ryu 168 Kukishin -ryu and Bufu Ikkan 170 Wisdom of a Demon 170 Kukishin-ryu Daken Taijulsu 172 Takamalsu Sensei 180 Using Weapons 188 Kukishin-ryu Happo Biken noJulsu 192 Shoden gala 192 Chuden gata 196 Sabaki gala 199 Okuden 201 Shirabe Moguri gala den 204

Daken Kirigami Daiji 85 Tewaza gata 95 Torigata no Daiji 98 COLUM S Budoka 20 . Bufu lkkan 36. City Lights 56 The Transmission of Martial Artists 100 48 Hands III • Martial Artists 143 Boccioni 149 · About My Parents 209 APPE DIX- Originaljapanese Text 210

Plate with a picture of koppo JUtsu. The picture shows the author throwing a Wild boar. DraWing by Takamatsu SenseI.

fACING PAGE:

INTRODUCTION

The True Meaning of Budo Taijutsu Happo

Budo Taijutsu Awakening Bufu Taijutsu , which emerged at the same time as th e app earance of humankind , is a means o f defense that was developed intuitively in order to preserve th e life of humankind. It is the rhyme of natural fi ghting, the teaching of departed souls, the transmission o f only those w h o survived. Hearing this rhyme , throughout all the ages of this Earth- the rhythms of ice and wa ter, h ot and cold-those that were able to deal with the vicissitudes of the times gave rise to the magnificent existence of Budo Taijutsu which survives to this day. Budo Taijutsu , whi ch is by n o means exclusively Japan ese, is like a bear waking from a long hibernation. And n ow hu man kind is starting to wak e up . The reason I draw the analogy of th e hibernating bear is because regarding Taijutsu , the essen ce of fighting, mankind has been sleeping and has forgotten this essence. Martial friends, the alarm bell has started ringing. Wake up from your slumber! Now, let's talk. I want to describe a picture of the nine traditions of Budo Taijutsu that I inherited , which is like the ripple caused by the dorsal fin of a dinosaur that suddenly appears , breaking the scenery of the beautiful Loch Ness. Walter Peter said that all art is a form of music. If this is true, we could say that there are martial songs in the martial arts and the people that perform these songs of Budo Taijutsu recorded in the mu sical score (gosenpu ; 1i~%J ) or flashes of enlightenment (gosenpu; tefl7!'l %J) are martial artists. Speaking of things that "one would want to see of a martial artist," there is no doubt the painter Oames

10

"Know th at th e secret of Taij utsu is the foundation of pea ce. If you learn this, you can walk the path of t he immovable heart." (Toda Shinryuken Masam it su) Ca lligraphy by the author.

Kumiuchi by the author.

Kumiuchi tiy Magara Jurozaemon at the Anegaw a battle.

THE TR U E M EAN I NG O F BU D O TA Ij U T SU H A PP O

11

McNeill) Whistler would answer, "Art is born by chance." By chance, I have just started to paint a scroll of the endless cycle of birth, death, and rebirth. Unlike the great Japanese artist Yokoyama Taikan, whose surname conjures the image of a majestic view (taikan; :krm), my taikan demonstrates my great resoluteness (taikan; :klt). This book is by no means the great Tsurezuregusa ( "Essays in Idleness") by Yoshida

Kenko, yet I will resolve to write it just the same, even though it be hard. Times long ago and the present time are connected without interruption. It really is the Konjaku MOl1ogatari-literally, a story of now and times gone by.

Sometimes I look at myself as Don Quixote, laughing at a book of jests, writing the book of a playful demon. Readers, I would like you to have that much ease yourselves, and reading this book many times as a secret scroll of Budo , persevere and see through the abstruseness (nankai; ~fW) to the wonders it contains (nankai; 91fH~). Let's also mention here that you should not just read the records of Budo and think you have completely understood it. Budo only has substance in a world of great dignity.

The Bible of Martial Artists This book is the bible of martial artists; it is the scriptures of martial arts. In this book, the ideal and actual are joined, things that would seem not to exist have reality and things that are impossible but which you desire to be are made feasible. It is said that the Wisdom Sutras (Hannya Shinkyo) are the essence of Buddhism. However, the "han" (Ill!:) here is also the han of BugeiJuhappan (the eighteen basic military arts) and "ya" (;fi) is you th; therefore , I interpret "hannya" as the training of young warriors . There is also the logic of Budo hidden within the Wisdom Sutras. In this way, the characters ofJapanese can be changed and replaced. Don't think that only certain characters or certain thoughts are correct-as in Budo and as in life, it is important to be able to use Kyojitsu Tenkanho (the interchange of truth and falsehood). Through Budo Taijutsu , which has become like a World Heritage, the expression of the roots of the unconscious within ourselves, of a way of life: that is the purpose of this book. Through the techniques of Kosshi jutsu , Koppo jutsu , Ninpo Taijutsu, Jutaijutsu, Daken Taijutsu, and the unification of the nine traditions of Taijutsu , one can approach the essence ofBudo. The 32nd Grandmaster of the Togakure-ryu , Toda Shinryuken Sensei, was the Head Teacher of the Koubusho (the school for train-

12

I N TR O DUC TI ON

Uchine-spear-shaped shuriken (throwing blades). BELOW: The bottom edge displays a carving of the family crest of the Tokugawa shogun. The crest is called Mitsuba-aoi. ABOVE:

ing of the shogun's retainers). However, after the assassination of Ii Naosuke (who was the Chief Minister of the shogun) , Shinryuken read the turbulence of the times and the coming destruction of the Tokugawa government and quit the Koubusho , opting for the life of a wanderer, spreading the teachings of the martial arts. Budo has been transmitted through this ability to foresee the essence of things. We hear the truth of Toda Shinryuken Sensei's martial song: "Know that the secret of Taijutsu is the foundation of peace. If you learn this , you can walk the path of the immovable heart. " In the teachings of the martial ways, there is the phrase "Calm presence of mind ," and Sir William Osler, the doctor, has said , "For a doctor the most important thing is to remain calm in all situations. " Starting with Tokugawa Ieyasu , known as "the General," exceptional warriors have studied medicine . Akiyama Shirobei Yoshitoki of the Yoshin-ryu is known as a famous doctor. We should also see resuscitation methods as a form of medicine. Formerly, the method of medical treatment called Hichibukugoshinjutsu was learned as part of the process of acquiring Budo Taijutsu. That essence is transmitted as the Scroll of "Divine Mind" (Shinshin no Maki) , the Scroll of "Divine Sight," and the third scroll as a method of treatments of all kinds and the knowledge to cure illness. In particular, these scrolls hold sincere heart and sincere feeling as secrets. Certainly, textbooks can be educational, but when you get into the study (or money) of textbooks , there is a danger of people becoming monsters. let's write "textbooks" (kyokasho ; ~ Hin as the "beginning of study" (kyokasho ; ~f4*1f). People who study martial arts should not stop at being one-sided collectors. I would like you to separa te from the concept of being a collector and be immersed (senyu; MA) , or be inspired (senyu; OOA), by the world of Budo Taijutsu.

Bujinkan Budo Taijutsu Today The word "expert" (meijin; l1A) can also be written as "life person" (meijin; tffr.A) , and those who protect the life of nature are called warriors. In the martial ways , we must not overlook the existence of the Shitenno (the Four Devas) that protect the ability of those that are leaders. We can think of the Shitenno as haVing been called into existence as gods of the military arts that protect Buddhism and protect the world. let us not forget that they have become the protection of the martial ways.

THE TR U E M E AN I N G O F BUDO TAIj U T SU H A PP O

13

It is said that amongst the Shitenno, Tamonten (Bishamonten) protects the north,likokuten protects the east, Komokuten protects the west, and Zojoten protects the south gates of Buddhism and of the warrior class . They are given as model examples of military commanders , four brave gods that protect the four directions of the warrior class, to whom the Prince Regent Shotoku Taishi prayed to protect Japan when the clans of Soga and Mononobe fought their great battles during the Nara period. One can hear in the wind that the Cro-Magnon (who liked conflict) massacred the Neanderthal (who did not like conflict). The wind of history blows by freely and passes away. So , let's try listening to the trade winds regarding civilization and humanity. Four great civilizations flowered in Mesopotamia, Egypt, Indus, and the Yellow River ; however the Cretan, Mayan, and Meso-American civi-

I

I

lizations are worlds that have vanished into the dream of other civilizations created by man. Looking at this , I live day to day asking, "Is this right? "- these changes in the existence of civilizations, not only for the existence of humankind but also for nature that lacks a voice. Let's write this as the expert (meijin; ijA), or the life person (meijin; ffrIA ) , who has the readiness to study through the martial ways. Let's speak about this as experts together (meijin doshi ; ijAIi'll;G;) , or "life people with the same goal" (meijin doshi ; tliJAIi'll;G;) , about the natural world, about all things in nature. The people who talk about this for posterity will preserve the transmission (densho ; wii.itr '"~ 1;k.Y 1,~,1. ..Rl. ~ 1- ~, • ~ ~ ., / ~ -V- _ -.Jt: J: "~4. -tt -\ -' -k /to\' -! 'l '" -,~ -'t. 7 i~ _

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that hand with the left hand, placing the th umb on top. At the same time the right hand wraps the opponent's left arm from the left side inward . While dropping the body, enter in with the hips for a throw. The opponent resists the throw. Pull the right hand and hold the opponent's upper left arm, pull the left leg back, and sit. The opponent's left arm becomes a gyaku and falls back. Holding the opponent down, kick into the opponent's left side with the right foot and return to position. Assume zanshi n. • Ura gata Ichi 1llll1As in the previous technique, enter in with the hips and complete the throw. • Ura gata Ni Rlll1= As in the previous technique, hold down the opponent's left arm. With the right foot execute tsune age to the opponent's left leg and knock him down. Assume zanshin.

3. Fubatsu :r::f.&: The opponent takes the lapel with the left hand. Take the opponent's left shou lder deeply. The opponent comes in with a right strike to the yokomen. Perform uke nagashi with the left hand, and kick into the opponent's suigetsu with the ri ght foot. Next immediately pull that kicking leg back and sit. At the same time pull the left hand that is holding the opponent's left shoulder down. The opponent rolls over once and lands on his back. • Ura gata !chi Rlll1Same as the previous technique. Without kicking into the opponent's suigetsu, turn the body to the left, sit forward, and throw. • Ura gata Ni Rlll1= Same as the previous technique. Turn the body to the left, with the left elbow hit the opponent's chest, and sit and throw.

4. Ryote gake jjIij-'FttHt The opponent moves in to apply a double-arm choke to the neck. With the right hand

SHI N OE N F U O O - RYU OA KE N TA Ij U T SU

163

coming from below, lift up on the opponent's left elbow. Lift the left hand up on the opponent's right elbow and then pull the left leg back so the opponent bends back. Immediately while lifting up firmly on the opponent's left elbow with the right hand, drop the right hip and enter in a throw. • Ura gata Ichi 1Il.!:iSame as in the previous technique. The opponent applies a double-arm choke. Enter in with the right leg into the opponent's gedan and throw. • Ura gata Ni 1Il.!:i=

Same as in the previous technique. The opponent applies the choke. Strike both the opponent's ears with open palms and thrust down. Assume zanshin.

5. Kasasagi

~

The opponent comes in to apply hon jime. Take both elbows with both hands, drop the body, and perform tomogaeshi sutemi nage . • Ura gata Ichi !ll.!:iSame as the previous technique. The opponent comes in with hon jime. Take both elbows with both hands and sutemi to the opponent's left side.

164

C HAPTER 7

• Ura gata Ni lll!:i= Same as the previous technique. Sutemi to the opponent's right side.

6. Suzu otoshi

~~L,

The opponent takes the sing le lapel with the left hand. Ta ke the opponent's sleeve just above the opponent's left elbow with the right hand and with the left hand hold the opponent's left arm. Keep the right hand poised and light. The opponent comes in with a right strike to the eyes. Drop the hips and perform left uke nagashi, and place the left hand over the upper part of the opponent's right arm. Pull the left leg back and sit, creating a left arm gyaku, breaking the arm. • Ura gata Ichi . l!:iSame as the previous technique. When the opponent comes in wi th tbe right strike, kick up into the opponent's gedan with the right foot and break the arm with an arm gyaku. • Ura gata Ni . l!:i= Same as the previous technique. Before placing the left hand on the opponent's right upper arm, strike the opponent's face with the left hand. Immediately break the arm.

7. Kasumi otoshi

ft~ L,

The opponent comes in with a left-handed sing le lapel grab. Place the thumb on the back of the opponent's grabbing hand. Hold in a way that allows grabbing with the fingers at any time. The opponent comes with a right stri ke to the eyes. Perform a lefthand uke nagashi, th en turn the body to the left, throwing the opponent from the point of the thumb on the opponent's left hand . The opponent's wrist becomes a gyaku and fall s back. Kick into the opponent's side with the right foot. Assume zanshin . • Ura gata !chi

~ l!:i-

Same as the previous technique. Perform uke nagashi against the opponent's right strike, and strike to the opponent's left yokomen with a left shuto. • Ura gata Ni .l!:i= Same as the previous technique, hidari waza. The opponent attacks with the right hand and is thrown to the left.

8. Roto 5aliiJ The opponent comes with a single lapel grab with the left hand and a right-handed strike. Place the thumb on the back of the opponent's grabbing hand and perform uke naga shi to the opponent's left striking arm with the right arm . Strike the opponent's right side with a left strike and take ura gyaku on the opponent's right hand with the right hand . Pull back the right leg and sit. The opponent falls face first. Kick into the opponent's right side with the left foot. • Ura gata Ichi lll!:i-

As in the previous techn ique, only this time striking the opponent's face with a left strike.

S H I N DE N F U D O -RY U DAKE N TAIJUTS U

165

• Ura gata Ni 1Il!!i= Same as the previous technique, but without using the left strike. Instead kick up into the opponent's gedan with the right foot and hold down.

9. Fudo 1'i1J The opponent comes in for a single lapel grab with the left hand. Lightly take the palm of the opponent's grabbing hand from underneath. The opponent comes in with a right strike. Perform left uke nagashi and then strongly grab the palm of the opponent's left grabbing hand with the right hand and lift up. The opponent's wrist becomes takeori, and turning to the left side, with the left hand grabbing the opponent's left shoulder, pull the right leg back and sit. The opponent falls back. Break the arm. Assume zanshin. • Ura gata Ichi 1Il!!iSame as the previous technique. At the same time as grabbing the shoulder with the left hand, kick the thigh of the opponent's left leg with the right foot, pu ll back, and knock down. • Ura gata Ni 1Il!!i= Same as the previous technique. The opponent's left wrist becomes takeori and the right leg kicks up into the gedan and tsukiotosh i.

10. Ugari

~)l.1J

The opponent comes in, grabs the single lapel with the right hand, and takes the sleeve with the left hand. Grab the opponent's left underarm, and the opponent performs osoto gake. Go with the throw so both legs go to the opponent's right side. Make sure to pu ll firml y on the opponent's left arm. Pull down the oppo nent, sit astride him, and execute hon jime. • Ura gata 1Il!!i As in the previous technique, when the osoto gake is applied grab the opponent's right side with the left hand and hit with the thumb. The rest is the same.

11. Fukan

1'~

The opponent comes and grabs the lapel with the right hand and the sleeve wi th the left. Remain with both hands natural at the side. The opponent comes in with seoi nage. Strike to the opponent's face with a right strike, grab the opponent's obi in the rear, and pull strongly. Next, move with the opponent's seoi nage, then perform sutemi in front of the opponent's feet, and throw. The opponent rotates once and lands facing up. • Ura gata )chi 1Il!!iSame as the previous technique. Replace the right face strike with a right body side strike. • Ura gata Ni 1Il!!i= Same as the previous technique. With a right strike strongly hit the opponent's right upper arm joint and break the joint.

166

CHAPTER 7

12. Shizen § ?'!.\ The opponent comes in with a double chest grab. Remain in shizentai. When the opponent pu lls, strongly strike the opponent's head with the head and knock him down as in osoto with the right hand on his jaw. • Ura gata Ichi 1I:l!:iAs in the previous technique, the opponent grabs then pushes. Grab the opponent's hands and kick up into the gedan with the right foot, then perform sutemi. • Ura gata Ni 1I:l!:i= Using the opponent's pushing force against him, right strike to the suigetsu and then

hook the legs and remain in shizentai.

CHAPTER

8

Kukishin-ryu Daken Taijutsu

fL*f$mtrT~f*f,f\f

Mysteries of Kukishin-ryu Kukishin-ryu's techniques were born from the knowledge of nine warrior gods and consist of nine sets of martial skills: body-striking skills (Daken Taijutsu), sword, spear, naginata , archery, six-foot stick, pikestaff, senban throwing , and military strategy. These are called divine techniques (kamiwaza), and they can be expressed as examples of divine flow: the martial way of the total warrior. Takamatsu Sensei would often say to me that, "Both Toda Sensei and lshitani Sensei told me that there are rules for when passing things on to disciples. One of these rules is that it is no good to hand down written transmissions (densho). This is because the depth of the truth of the martial way is infinite, though anyone reading something written in the densho or other things that are written about Budo is simply studying written words (hisshi;

~~),

lifeless words

(hisshi; ~JE) . That is to say, they are stuck in the verse of a poem, and they have likely forgotten the meanings of determination and desperation (hisshi; !JZ,JE) and haven't mastered BuJu. The martial way is about not giving up , and therein lies the secret. The way of war is survival. Pursuing the martial way demands the composure of a warrior's heart. Even with mind, body, and skill as one (shin-gitai-icchi), unless you simultaneously have the courage of self-sacrifice (sutemi) , you will come to failure. Even in everyday life, the composure of a martial artist's heart is vital. Things that are written are composed after the event-these are not so important, they are a past matter. The importance lies in the present, in the immediacy of the warrior's heart ... " Takamatsu Sensei often said that between training sessions with his uncle, Toda Sensei, he was made to copy out Toda Sensei's denshoo This story is about when he received the densho from lshitani Sensei. One night lshitani Sensei came calling at Takamatsu Sensei's

168

CHAPTER 8

Calligraphy by the author. It reads "Kuki Taisho" (Nine demons laughing loudly).

place, and said, "You've trained well. Here are the densho that I've written out. There is nothing left to teach you." "No Sensei, there is still much ... ," came the reply. That type of pleasant exchange went on for several days, when suddenly Ishitani Sensei fell, and lying on Takamatsu Sensei's knee he uttered his last gasp , "Un !" and just like that he was taken from this world. This is a form of the transmission (densho) of the connection between the first and last breaths of our lives in this world (represented with the syllables a-un).

Kukishin-ryu and Bufu Ikkan It is the same in any era the world over: usually when countries are in disorder and disarray they yearn for a sage, a philosopher and thinker who can guide them through their collective malaise. Most people agree , however, that a man of the caliber of a sage very rarely appears. But by persevering with the martial way, providence summons the clouds and they are able to discover their sage. Taking an example from a dialogue in Buddhism, from Kukai's Hizo Hoyahu, the monk Genkan uttered these wise words: "Even when there are no good doctors, medicine should not be abandoned. The same is true in the world of art and of martial arts-you don't just abandon them, and within the world of Buddhism I would like to say this same thing to anyone who thinks that there are no distinguished monks. Even when the world around them falls on hard times , great people do not get caugh~

up in the flow of the current of the times ,

they must exist entirely outside of that. "

Wisdom of a Demon According to the different eras through which it evolved, the literature of Kukishin-ryu still retains many of its kamiyo moji characters and Chinese characters , and these have scholarly value. Among researchers of ancient texts and manuscripts, Takamatsu Sensei was said to be the most knowledgeable regarding ancient documents. That wealth of knowledge was handed down to me by Takamatsu Sensei.

170

CHAPTER 8

People are afraid of the demon's ga te (kimon ; kimon is really the life gate (kimon ;

~ r~).

*r~) ,

but that

It is not an evil place;

things are created there , it's a place where children are created. I think that the face of a female demon is th e face of a wo man in ecstasy. The demon's gate (kimon;

*r~)

can also be read as the mira-

cle gate (kimon; ~r~). But a miracle (kiseki; ~l@ji) can be undone by the demon who sits at the gates of hell (kiseki; *~ ). The French painter Henri de Toulouse-Lautrec (1864-1901 ) once said, "Art is not something that is simple, it is something that is larger than life. " I conceive of the martial arts as a dance, like in one of Lautrec's paintings, and am reminded of the Budo story of the butterfly that dances with the giant demon. Young children are told by people that , "a person who understands play has life's greatest treasure. " In Kukishin-ryu this "play" is taught as the children's game of tag (demon play). A person who understands martial arts has life's greatest treasure. In the nineteenth year of Heisei (2007) , the Bujinkan is training with this as the number one principle. Also in Ninpo there are techniques of playful performance, and in the secret principles these represent a good , manly disposition. We have come to an age where the essence of the playful h eart , of having composure, and o f where the warrior knows the valu e of harmony h ave come to be . And perhaps this would be a good point to talk about how Budo is not meant for competitions. I would like you to recognize that the way a martial artist composes their heart and the way of Japanese chivalry are connected to the health and happiness of the body and spirit. Takamatsu Sensei would often talk about the expressions "martial ethics and recognition" and "a martial artist's heart," and I have recently come to realize deeply that this is the highest level of verba l transmission (k ud e n ; D{~ ) . The immovable h eart (fudoshin ; /f'lll}J{,') and the wealth of a child's mind (fudoshin; m-itIL') mean that even a three-year-old child can be cultivating peace.

KU KISHI

-RY U DAKE N TAIJ UTSU

171

Using shuban (iron plate).

/

/

/

Using jutte.

KUKISHIN-RYU HAPPO BIKEN NO JlJiliSU 11}l~mtj\~~"!~Ji2.fiIlj

Hira no kamae

:~

SjZz~

Both hands naturally on hips. Eyes directed toward the opponent's eyes, drawing them in.

Hira ichimonji no kamae

SjZ-:>c~.z~

Both hands spread out to either side, in a straight line.

Seigan

w!®

The body is turned to the right. Sideways, right hand on hip. Position the left hand in a shuto and direct it toward the opponent.

Katate hicho no kamae

ft~m,~z~

Right-hand shuto. Thrust out toward the opponent, body turned to the left, draw the left leg in, lower the hips, left hand at chest.

Kosei no kamae

!)(:~.z~

Left-hand shuto above the face, right fist at chest. Lower the hips. Pull the right leg back (behind). These five positions are called Daken ~aijutsu goho no kamae.

SHODEN GAIA

f}]1~m!

~

~m

Kion

The opponent's right hand to chest, left hand to sleeve. 1. In the same position, left hand under the sleeve and the right hand holding the opponent's right collar. 2. All at once, pull with the left hand and thrust in with the right hand, choking with the collar (kata eri jime). 3. Place the right leg enough to the right side of the opponent's right leg, then kick into the opponent's outer kaku. Immediately pull the left leg back enough, kneel and drop him. Hidari waza is also the same.

Uyoku

,~~

The same technique as before; break the right leg and throw with seoi nage. Hidari waza-Do the technique to the left and throw with left seoi nage.

192

C H A PTER 8

Scroll of Akiyama Yoshin-ryu.

Yume otoshi

~m

The opponent comes in with a left and right fi st. 1. Block the left fist with the right hand . Block the right fist with the left hand and catch hold of the sleeve. 2. Push with the right hand into the opponent's yugasumi. 3. At the same time execute osoto gake and drop him. Hidari waza is also the same.

Suiyoku

*_

The opponent strikes with a right fist, left fist, right leg. 1. Block the opponent's right fist with the arm, block the left fist with the right hand, and catch hold of that sleeve .. 2. As the opponent kicks in with the right leg, deflect it out to the left with the left hand, at the same time push into the opponent's right kiri kasumi with the left hand, and kick below the opponent's left ankle with the right leg. At the same time the right hand catches hold of the opponent's left sleeve, pull with the right hand, pull back with the right leg, and kneel. Push enough with the left hand into the kiri kasumi, then drop him. Hidari waza is also the same.

Suisha

**

The opponent strikes with the right fist, left fist, right fist. Maintain a natural posture (shizentai). 1. Strike up into the opponent's right fist with a left-hand uchi age. This is done with the right fist to the inner thigh of the opponent's left leg. 2. The opponent strikes with the left fist. Block out to the right with the right arm, block the opponent's right fist with the left hand, and at the same time get hold of the sleeve and pu ll. 3. The right hand catches hold of the opponent's right shoulder tip. 4. Kick up with the right leg into the inner thigh of the opponent's right leg. At the same time perform uchimata on the left leg, and as the right hand pulls, push with the left hand. Simultaneously, with the leg wrapped around the inside of the left leg for uchimata, change to spring up to the front outside right and drop him. Hidari waza is also the same.

Kubiwa

§fffflB

The opponent comes in with a right fist, left fist, right fist, left kick. 1. Maintain hirashizentai . Block the right fist with the left hand, and block twice against the left fist with the right arm.

KUKlSH I N -RYU OAKE N TA lj UTS U

193

2. Block the last right fist with the left hand, catch hold of that sleeve, and pull. Block the left leg with the right hand, striking into the thigh. 3. Immediately bring the right hand to the crevice at the opponent's left ryumon and push down . Holding the sleeve in the left hand, pull strongly. Pull the left leg back (behind), kneel, and drop him. Hidari waza is also the same.

Hosetsu

Ji)j~

The opponent comes in with a right fist, left fist, right leg, right fist. 1. Maintain shizentai. Block twice against the opponent's right and left fists and counterstrike with the right hand into the thigh on the opponent's right leg. 2. Knock the opponent's last right fist down and to the left with the left hand, and from above the opponent's right hand catch hold of the opponent's left collar and choke. 3. The opponent strikes up with the right hand into the hand that is performing the left choke. 4. Change and throw with ippon zeoi nage from the outside of the opponent's right hand. Hidari waza is also the same.

Iso arashi &Ui The opponent comes in with a left hand to the chest, rig ht fist, right leg. 1. With the right hand, catch hold of the opponent's hand at the chest. Grasp the left wrist. 2. With the left hand, deflect the opponent's right fist. 3. Also use the left hand to deflect the right leg. 4. With the left hand under the opponent's right jaw, push the right collar. 5. With the right hand, execute omote gyaku dori on the opponent's left wrist. Pull back (behind) enough with the right leg, kneel, and throw. Hidari waza is also the same.

Yanagi ore

~ptfT

The opponent comes in with the left hand to the chest. right fist, right kick. 1. With the right hand, lightly take hold of the opponent's left hand that is at the chest and hold it in the form of omote gyaku dori. 2. With the left fist, deflect the opponent's right fist and right leg. 3. With the left hand, catch hold of and lift up the opponent's left elbow. 4. While holding the opponent's left wrist in omote gyaku dori, with the right leg

194

CHAPTER 8

kick to the inner sai of the opponent's left leg using yoko geri, drop the hips, pull back with the right leg, kneel, and throw. Hidari waza is also the same.

Fubuki

1l5.:~

The opponent comes in with a left hand to the chest, right fist, ri ght kick. 1. The opponent has hold of the chest with the left hand. Hold that hand lightly in the form of omote gyaku dori. 2. Block the righ t fist with the left hand, and immedi ately strike to the th igh of the right leg while moving with the opponent's force. 3. With the left hand, catch hold of and pu ll the opponent's left elbow, and lift it up. 4. With the right leg, kick up into the opponent's gedan and at the same time insert the left hip. The right hand has the opponent's left hand in omote gyaku seoi nage. Hidari waza is also the same.

Kataho

J:t~.I'L

The opponent comes in with a ri ght fist, left fist, right leg, left leg, right punch. 1. Block the opponent's right fist with the left arm and deflect the left fi st with the right arm. Block the right leg with the left fist striking to the sai, and block the left leg with the right fist striking to the sai . 2. Block the opponent's last right fist with both hands in the form of jumonji, perform ura oni kudaki, then with the right leg throw with osoto. Hidari waza is also the same.

Tatsumaaki

li~~

The opponent comes in with a right fist, left fist, right leg, left leg, right fist. 1. Maintain shizentai. Use the left arm against the opponent's right fi st and use the right arm against the opponent's left fist. Strike the knee joint of the right leg with the right fist and the knee joint of the left leg with the left fist. 2. Block the opponent's last right fist with jumonji . With the left hand catch hold of the opponent's right sleeve and pull. 3. The opponent once again comes in to strike with the left fist. With the right hand, from the inside, strike up with uchi age into the hoshi. 4. With that right hand immediately push strongly into the side of the opponent's neck. S. With the heel of the right leg strike into the kaku of the opponent's right leg. Pull the right sleeve far enough with the left hand, then throw with osoto nage. Hidari waza is also the sa me.

KUK ISHI N-RYU DA KE

TAIJU TSU

195

CHUDEN GAIA

1f11~~

"~

Uranami iiliiN The opponent comes in with a right fist, left fist, right leg, right fist. 1. Mainta in shizentai. Block the opponent's right punch with the left arm and deflect the opponent's left punch with the right arm. 2. Block the opponent's right leg with the left hand, hit the kaku, block the last right punch with the left hand, and at the same time with the right hand perform ura oni kudaki . Kick into the opponent's inner right kaku with the right leg, get the opponent's right arm in oni kudaki gyaku dori, then throw strongly with osoto nage using the right leg. Hidari waza is also the same.

Tenchi

~ith

The opponent comes in with a right fist, left fist, right leg, right fi st. 1. Maintain shizentai . With the left arm against the opponent's right fist, the right arm against the left fist, kick the right fist up to the left and strike in with the left fist to the thigh on the right leg to block. 2. Block with jumonji and attach the right hand against the opponent's last right fist. 3. With the right hand immediately grasp hold of the opponent's right hoshi and pull. 4. From outside the opponent's right hand get the opponent's wrist with the left hand, and perform omote gyaku on the opponent's right hand. 5. Kick up into the opponent's testicles with the right shin, pull back behind with the left leg, kneel and secure the right hand downward, then drop him. Hidari waza is also the same.

Katanami !'tiN The opponent strikes in with a right fist, right leg, right fist. 1. With the left fist against the opponent's right fist, block by striking up into the right fist's hoshi. Block the opponent's right kick by striking into the sai with the right fist, block the opponent's last right fist with the left arm, and catch hold of that sleeve. 2. Strike in and push strongly into the opponent's kiri kasumi with the right thumb. 3. Immediately move out to the opponent's right side and drop him wi th harai goshi. Hidari waza is also the same.

Kasumi gake

~m

The opponent strikes in with a right fist, left leg, right fist. 1. Block the opponent's right fist by striking up with the left fist into the hoshi.

196

CH A PTER 8

2. Block the right leg with the right fist by striking into the sai and immediately strike into the opponent's forehead with the right hand . 3. Catch hold of the opponent's right sleeve with the left hand and pull downward. 4. Catch hold of the hoshi on the opponent's right arm with the right hand and pu ll downward. 5. Immediately change and throw with ippon zeoi. Hidari waza is also the same.

Taki no se

jj\~~~

The opponent strikes in with a right fist, right leg, right fist. 1. Block the opponent's right fist and right leg the same as before. Block the last right punch with the left hand. 2. The opponent takes the block at the left wrist with the right hand and comes in with the hips for hane goshi.

3. Against the opponent's hane goshi, strike strongly with the right fist into the thigh of the right leg and sweep it. 4. With the left hand take the opponent's right shou lder and push, with the right hand take the opponent's left wrist, and with the left arm perform gyaku osae dori . 5. Immediately change, insert the left hip, and throw. Hidari waza is also the same.

Shiokaze

ijl;}j\,

The opponent strikes in with a right fist, right leg, right fi st. 1. Block the opponent's right fist and right leg the same as before. Block the last right punch with the left hand, catch hold of the opponent's right sleeve, and with the right leg kick up into the kaku on the inside of the opponent's left leg. 2. With the left hand, catch hold of the opponent's right wrist in omote gyaku. 3. With the right hand, catch hold of the opponent's right hoshi. 4. Pull the left leg back (beh ind), kneel, and throw. Hidari waza is also the same.

Varna arashi Illiit The opponent comes in with the left hand to the chest and strikes in with a right fist. 1. Against the opponent's right fist, step back with the right leg and block with the left hand. 2. With the right hand, grab the opponent's hand that has hold of the chest in kote gyaku dori. 3. With the opponent's left arm in this position, throw with ippon zeoi. The right leg changes position and comes to the front left. Hidari waza is also the same.

KUKISH IN- RYU OAKE N TA IJ UTSU

197

Yanagi kaze WP}@. The opponent comes in with the left hand to get the chest, and strikes in with a right fist. 1. Step back with the right leg and block with the left arm. 2. With the right hand grab the opponent's left hand that is holding the chest in takeori, get around beh ind the opponent to the outside left, and twist the arm.

3. With the left leg, kick in to the opponent's left ca lf. pull and drop with hiki taosu. Execute oikake dori. Hidari waza is also the same.

Tatsunami

~g;~

The opponent comes in with the left hand to get the chest and strikes in with a right fist. 1. Block the opponent's ri ght fist wi th the left hand. At the same time, from above the opponent's left ha nd, catch hold of the opponent's elbow sleeve with the left hand. 2. Strike into the opponent's left butsumetsu with the left hand, then get hold below the opponent's left underarm. 3. Get the opponent's left arm in a reverse and pull back the left leg. Kneel and push with osae komi. Hidari waza is also the same.

Koo Jfi:.J¥, The opponent comes in with the left hand to get the right chest and strikes in with a right fist. 1. Block the opponent's right fist with the left hand. 2. With the right hand, get the opponent's left wrist in omote gyaku, and catch hold of the opponent's right hoshi with the left hand and pull.

3. Insert the right leg for uchimata and wrap the left leg, pull, and at the same time strike up with the right hand into the opponent's asagasumi, and drop him. Hidari waza is also the same.

Kasane iwa

~:E

The opponent comes in with the left hand to get the chest, and strikes in with a right fist. 1. Deflect the opponent's right fist with the left hand. 2. With the right hand, get the opponent's hand at the chest. Grab the left wrist in the form of takeori. 3. With the left hand, from above the opponent's left arm, catch hold of the elbow sleeve and pul l. With the opponent's left hand in a gyaku, push. 4. Immediately with the left leg, drop him with osoto. Hidari waza is also the same.

198

CH A PTER 8

:

Shiho dori lZ!3:1Jtm

..

. ! •~

The opponent strikes in with a right fist. First the left hand comes to grab the chest, and then the fist strikes. 1. Pu ll back with the right leg, block the opponent's right fist with the left hand, and catch hold of that arm's wrist. With the right hand, from under the opponent's right arm, raise the left hand, folding it up, and perform oni kudaki. 2. Pull back with the right leg. 3. Immediately change and insert the left hip and throw with ippon zeoi . Hidari waza is also the same.

SABAKI GAlA

m~~

-

Arakoma JiE!iiJ The opponent comes in with the left hand to the chest, right leg, right fist. 1. The opponent grabs the chest with the left hand. With the right hand execute ura kote gyaku, holding lightly. 2. Block the right leg and deflect the right fist with the left hand. 3. With the left hand, grab the opponent's asagasumi and throw with koshi otoshi.

Kasoku JmJE The opponent comes in with the left hand to the chest, right leg, right fist. 1. With the right hand, grab the opponent's left hand that has taken the chest in kote ura gyaku, holding lightly. 2. Block the opponent's right leg and deflect the right fist with the left arm. 3. With the bottom of the right foot kick into and break the opponent's inner right kaku. 4. At the same time with the left foot, roll the opponent's left ankle up from the inside. 5. With the left hand strike into the opponent's kimon and at the same time grab the opponent's left hand with the right hand in kote ura gyaku and th row.

Chikusei t'rflS The opponent comes in with a right fist, left fist, right leg, right fist. 1. Deflect the opponent's right fist with the left arm and right block against the left fist. Immediately grab and pull the sleeve, right leg, right fist, block wi th the left leg, and with the left hand grasp that wrist. 2. With the right hand grab hold of the area where the opponent's ribs are and pull out to the left.

KUKISHI N -RYU OAKE N TAljUTSU

199

; I :, i

;

.

3. Immediately with the right hand stri ke into the lower chest's butsumetsu and throw with a right harai goshi.

Yume makura

~tt

The opponent comes in with a right fist, left fist, right leg, right fist. 1. Block the opponent's right fist with the left arm and block the left fist with the right arm. Block the right leg with a right fist strike into the sai. 2. Block the last right fist with jumonji and stay connected to it. With the right hand catch hold of the right sleeve and pull, and wi th the left hand perform gyaku ura kote dori and go in for ippon zeioi, then drop him with temakura on that arm.

Suso sabaki mir2m The opponent comes in wi th a right fist, left fist, right leg, right fist. 1. Deflect the opponent's right fist with the left arm and block and hold the opponent's left fist wi th the right hand. Block the opponent's right leg by striking into the sai with the right fist and block the right fist by striking up into the hoshi with the left arm. 2. Step to the front ri ght and catch hold of the opponent's left sleeve with the left hand.

3. At the same time, with the right hand execute ura gyaku dori on the opponent's left wrist, and with the left hand get hold of the opponent's shoulder from the inside of their left hand, then change and throw with left koshi nage. Pull back with the right leg, kneel, and throw.

Iso gaeshi

~~

The opponent comes in with a right fist, left fist, right leg, right fist. 1. Deflect the right fist wi th the left arm and deflect the left fist with the right hand. 2. Block the right leg by striking into the sai with the right fist. 3. Block·the opponent's last right fist with the left arm and with the right hand immediately grab the opponent's right hand in gyaku ura dori. From the outside insert the hips and throw with katate nage.

Kaze harai 111.11 The opponent comes in with the left hand to the chest, right fist, right leg. 1. Stri ke the hoshi of the left hand that is coming to take the chest and hold it. 2. Deflect the right fist with a left fist strike to the opponent's right hoshi. Deflect the left leg with a left fist strike to the sai. 3. With the right hand get the opponent's left hand in gyaku ura kote, pull the left leg back, and with the gyaku lift and close the wrist.

200

CH AP TER 8

4. Go under the opponent's left hand from the outside and throw. The opponent falls face up.

Kuruma dori

~l1Ii

The opponent comes in with the left hand to the chest, right fist, right leg. Do the same as before, and on the last punch grab the opponent's left wrist in gyaku ura dori . Lift up and with the right hand take the hips, then throw with koshi nage.

Kimon

*r~

The opponent comes in with a right fist, left fist, right leg, left leg, left fist. 1. Deflect the opponent's right fist with the left arm, deflect the left fist with the right arm, strike and sweep away the right leg with the right fist, then sweep away the left leg with the left fist. 2. Block the last left fist with the right hand, then immedi- . ately catch hold of the sleeve with uchi maki. 3. Immediately pull the left leg (far) enough back, kneel, and throw with katate nage.

The opponent comes in with a right fist, left fist, right leg, left leg, right fist. 1. Block the same as before up to the left leg . 2. Block the last right fist with jumonji. 3. With the left hand from the outside, catch hold of the opponent's right wrist. The left hand catches hold of the sleeve on the inside of the opponent's wrist and pulls. The opponent's right hand goes into a gyaku. 4. With the right leg, kick up into the opponent's testicles and throw with osoto gake.

Ukimo

;'¥~

The same as before but throw with seoi nage.

Ranfu jliLJ!l The same as before but kneel with the right leg and throw with seoi nage.

OKUDEN Fuun

~1n

J!l~

The opponent comes in with a right fist, left fist, right leg, left leg, right fist. 1. Deflect the opponent's right fist with the left arm and deflect the left fist with the right arm. Strike into the sai on the right leg with the left fist and strike into the sai on the left leg with the right fist.

KU KISHI N -RYU OAKEN TAIJUTSU

201

2. Block the last right fist with jumonji, then perform oni kudaki. 3. Breaking the opponent's right arm, go under the right hand, move out to the right side, and kick into the opponent's right thigh with the left leg and pull him down with hiki taoshi. The opponent falls face down.

Sagi

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