KOTO RYU

Koto Ryu is famous for its Koppojutsu. While it has become popular to
translate the Japanese Koppojutsu as "bone breaking", the word in fact could be applied
to a wide variety of pressure point and weak point attacks.
It should be noted that these attacks are not necessarily the same thing. Weak points can
occur within balance, stance, the natural structure of the body, the operation of the
individual nervous system and even the mental outlook. This confusion about what is an
actual weak point as opposed to a simple sensitive spot on someone's body is one very
important reason most martial artists spend their entire life training and still reach only a
rather insipid level of skill.
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.
KOPPO
Koppo is often associated with koppojutsu or bone attacking, and that's part of it, but now
when Sensei talks about Koppo, he is talking about something much deeper. That being
said, it's been very difficult to grasp the full meaning of what Koppo is.
Koppo has been translated as "the knack", as in the knack of fighting. This translation is
good, but it doesn't convey what the knack is, specifically the knack to which Hatsumi
Sensei refers. The way Sensei has been explaining it, Koppo is the dissolving away of
techniques and the elimination of intention. One example that he gave involved several
sword schools whose foundation was never having the intention of cutting. This was
superior because by not trying to cut, there was never a weakness exposed. The
swordsman would move into the weak point of the attacking enemy, placing his sword in
the right spot, and due to the characteristics of the blade and the natural movement of the
human body, the opponent would actually cut himself. In like fashion by dissolving away
your techniques, and intention of applying them, you will eliminate your weak points.
The essence is to simply move into your opponent's weak spot with the proper timing and
kamae (Of course by kamae, it is meant the complete feeling and spirit that truly is
kamae, not just a static physical pose.) That's it, no more, no less.
REKISHI
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.
Sakagami Kotaro Masahide
, also known as "Bando" was not only the 2nd
Soke of Koto Ryu Koppojutsu, but also a Soke of Gyokko Ryu Koshijutsu
during the Tenbum era 1532-1555. He received the Koto Ryu and Gyokko Ryu from
Sakagami Taro Kunishige
Soke of Gyokko Ryu. It has been suggested that he

was killed in battle in the later part of 1542. Whether he took up complete leadership of
the school before his death, this is not known.
From here, the Ryu was passed down to the famed ninja leader Momochi Sandayu.
Momochi Sandayu lived during the Tembun era (1542-1555) and was the Soke
(grandmaster, or family head) of Momochi Ryu, Koto Ryu and Gyokko Ryu. He was
well known as a skillful ninja.
To hide his identity, he had no less than three different homes. One of them was in Ryugu
Sanbonmatsu in the Yamato province, that was founded by the Daimyo Kitabatake
Tomonori; the others in Hojiro Yamato and Takiguchi-Jo. He also had three different
families which he alternated between. The place he mainly lived in during the 1570s
seems to be Ryugu Sanbonmatsu, since he was considered to be one of the leading men
in that village.
Some sources state that Momochi Sandayu and the third most famous ninja leader,
Fujibayashi Nagato, where the same person. This could be confirmed under the premise
that when Oda Nobunaga invaded Iga in 1581 there was no evidence that Nagato was
active, but that Momochi was. Another reason for this assumption is that the Momochi
family is not listed among the 45 leading ninja families in the Ninjutsu system.
One of Momochi Sandayus homes at Takiguchi-Jo, close to Iga-Ueno, was burned down
by Oda Nobunagas invasion of Iga. Momochi successfully escaped with his men and
stayed in Sanbonmatsu until the news of the assassination of Oda Nobunaga (on the 10th
of June 1582) reached him. Sandayu Momochi probably died not long after the Iga
invasion; his grave was found in the 1960s on the old family grounds near the Nabari
village, at the foot of the Oka-One Mountain, approximately 24 kilometers from IgaUeno. It was located on a hill near one of his homes.
Momochi Sandayu II inherited both Gyokko Ryu and Koto Ryu during the Tensho era
(1570-1592) from Momochi Sandayu. Who became the next Soke in Momochi Ryu is
unknown. Gyokko Ryu and Koto Ryu where passed down to Momochi Tanba Yasumitsu
in the Bunroku era (1596- 1615); he was also known as Tanba No Kami and master of
the Ryugu castle. Momochi Taro Saemon, who was the master of the Ueno Shokudai
castle in the Iga province, took over the Sokeship in the Genna era (1615-1624). After
that time period, the two ryus left the Momochi family to wander their own separate ways
in the Iga province.
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 Toshitsugu 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 contains 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.
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.
There is of course good reason to question the reason why anyone should be interested in
the history of such esoteric fighting arts and why what technique goes to what Ryu is of
any importance whatsoever. As is often the case, asking such questions reveals more
about the questioner than it does of the one questioned.
Tenchijin
On the most mundane level, Ten, Chi, Jin can be taken to mean "Heaven, Earth, and
Man" and as such it is often taken to just mean the basic (lower) middle and upper
(advanced) techniques of a Ryu. The expression can also be said to point out the fact that
whenever one is training in a particular Ryu, they should do the Gata (or techniques) of
that Ryu while standing in a high, medium or lower stance.
While both of these ideas have some basis and they can even be of some use, they have
little to do with the real meaning of Ten, Chi, Jin as this idea applies to something as
complex as Koto Ryu. The reason that the deeper meaning of this idea has been
completely missed by the majority of ninjutsu writers and instructors (although I am not
sure exactly what the difference between these two are) is that very few understand the
connection of ancient and recent China to ninjutsu.
Of course, there are no (and to be technical there never were) ninja in China. Attempts to
tie ninja with cave or forest cults are fun but they have no basis in historic fact. However,
the impact of such Chinese systems of thought and action as Taoism, Buddhism, and a
wide variety of cultural arts such as tea, painting, martial arts, etc. is common knowledge
although the implications of such is generally overlooked. Granted, anything brought to
Japan was mixed (and almost always improved) with the knowledge already present, but
that rarely meant dropping much of the original Chinese methods of training or the order
in which this training was carried out. Thus, the expression Ten, Chi, Jin is actually a
form and order of training that originates in ancient Taoism.
To look at this another way, how does one train once they have a good idea of the basic
techniques of their selected Ryu? Popular wisdom says that this is the time to take up the
practice of sparring. However, one look at what actually takes place during sparring and
one cannot really question the statement that if one wants to become skilled at something
as trivial as sparring, they should take up boxing or free-style Wrestling and forget about
the idea of martial arts.
Just how the idea that there is some relationship between the sport of sparring (and any
form of fighting that takes place at an agreed upon time at a prearranged location is sport
regardless of claims that there are "no rules" ... the very fact that both parties chose to
play implies rules) and real fighting is beyond me. The fact that someone can overpower

someone does not mean they are necessarily a better martial artist. It simply means the
loser did not make a very good selection in terms of sporting partners.
The elements of time, place, condition of the people involved (if I was going to select just
what condition an opponent was to be in I think I would want him in a coma or asleep ...
not very sporting but very practical) and even the "junk" In the area play an important
part within any given situation. This is why military units attack when the enemy is
asleep or has just finished eating or even changing shifts. This same type of idea has to be
incorporated into real training.
To return to the idea of how to combine basic techniques, one has to of course spend
some time considering just how this is to be done and more importantly, where and when
it is to be done. The point is to train so that the techniques and the style of movement
central to the Ryu becomes second nature and one is moving according to the teachings
of the RYU without having to stop and think about what they are doing.
Thus kata that involve strikes can be easily combined with other striking type kata or
even flow directly into a grab- takedown series of movements. Also, kata from one level
of technique can be combined with kata of another level in an effort to better understand
how the movement of a style works within the context of flow.
We all know about the Ten Chi Jin principles. If you accept that:
Ten is the body movements,
Chi is the techniques you can do when you are at the good distance,
Jin is the mix of body movement and techniques.
If you accept that:
Ten movements are used to break the distance
Chi techniques to break your Uke
Jin is the techniques from the different schools
Now if you take a technique like Batsugi (Koto Ryu). We know that this technique is uke
nagashi ura, uke nagashi ura + omote gyaku. The two uke nagashi are Ten; the omote
gyaku is Chi. The mix of these two parts is Jin. Understand that by following the
sequence you are not practicing "Koppo jutsu", you are merely trying to do a preestablished set of mechanical movements. But if you use the sequence as a starting point
for making your taijutsu alive then it becomes Koppo jutsu. The next step is to do batsugi
by changing the ura in omote and the omote gyaku in another basic technique. If Uke
grabs you instead of throwing the second fist then you can throw instead of twisting the
wrist or even apply a shime waza.
After exploring the various (and endless) possibilities of this movement you begin to grab
the essence of the movement. The idea hidden behind the form, the natural aspect of
batsugi. This is something beyond the mechanics of your own body, something existing
without any pre-conceived thinking. The last step for reaching an even deeper
understanding of Koppo jutsu will be the use of all the weapons you can to make this

batsugi alive. You will use the different sizes to explore with your legs and body all the
angles and opportunity, whether it is against someone armed or not.

DENKEI
1. Sakagami Taro Kunishige
tembun 1532
2. Sakagami Kotaro Masahide
tembun 1532
3. Sogyokkan Ritsushi
tembun 1532
4. Toda Sakyo Ishinsai
tembun 1532
5. Momochi Sandayu I
(
) tembun 1542
6. Momochi Sandayu ii
(
) tensho 1573
7. Momochi Tanba Yasumitsu
bunroku 1595
8. Momochi Taro Saemon
genna 1615
9. Toda Seiryu Nobutsuna
kwanyei 1624
10. Toda Fudo Nobuchika
manji 1658
11. Toda Kangoro Nobuyasu
tenna 1681
12. Toda Eisaburo Nobumasa
hoyei 1704
13. Toda Shinbei Masachika
shotoku 1711
14. Toda Shingoro Masayoshi
gembun 1736
15. Toda Daisaburo Chikashige
bunkwa 1804
16. Toda Shinryuken Masamitsu
b. 1824 - d. 1909
17. Takamatsu Toshitsugu Uoh
b. 1887 - d. 1972
18. Hatsumi Masaaki
b. 1931 Present

KOTO RYU ATEMI NO TANREN

(Strike training)
NOTES: Distance to start with should be great. Attacker takes a big step then small
ones. Move with the attack then step into strike then out to a safe distance. You can also
use Yoko Aruki
For Atemi training wrap straw around a tree, and place cloth over the straw. In the old
days animal skin was used. A concentration of the mind body and the spirit are to be
expressed in the fist. This same principle is used when the training of the five fingers is
undertaken. Proper footwork will increase the power of the strikes. Your head becomes a
weapon (Kikaku ken), your body becomes a weapon (Tai ken). Training is needed to
make every part of your body a weapon. When doing the three fingers striking, you may
feel that your strike is not strong enough; so then, you must apply a kick with it. Also
kick with both legs at the same time. If you lose your balance roll away.
1. From Seigan no Kamae, strike the tree with Fudo Ken (Thumb on top). Step back to
Seigan and repeat.

2. From Seigan strike the tree with Fudo Ken, Shukki (no step), Shuto (no step). Step
back to Seigan and repeat.
3. From Hoko no Kamae, keep the knees bent, and with switch stepping, strike the tree,
with Shako ken.
4. Size up the distance with the right hand, and foot forwards. Yoko Aruki with the left
foot, and strike with a left Boshi ken. Yoko Aruki back and right Boshi ken. Repeat.
NOTE: The right foot does not move.
5. Step forwards, and strike with Kikaku ken. The left leg then comes up and kicks with
the inside edge of the foot (from the ankle anywhere up to the chest). Two steps back and
repeat.
6. Strike with San Shitan Ken (Thumb & two fingers), with the left foot forward, striking
hard in with the right hand. The hand is held head high during the striking (Feet do not
move).
7. As Number 6. After the strike use a combination of San Shitan Ken, and a kick with
the right foot (toe point out)
Tsuki - Tsuki - Keri
Tsuki - Keri - Tsuki
Tsuki - Tsuki / Keri - Tsuki.
8. From standing launch yourself upwards, and kick at chest height with a right or left
Sokuyaku. Also two feet. If you fall roll backwards.

KOTO RYU HATSUDEN

TSUGOKUI KYUSHOUZU
The picture below shows a section of the Koto Ryu scroll
that contains information on the schools Kyusho (weak
points). Here we have the Torso, and a section of the
body I can not identify (maybe hip or shoulder).

Key: (soto/uchi) (outer/inner)

Amado
Rain door
lymphatic glands of the neck and the whole area of
Asagasumi
Morning mist
just under chin or the chin itself
Ateri
Hit
back of the head at the base of the scalp left and right
Benkai
inside of the shinbone
Buda
mid point of calf
Butsumetsu
The day Buddha died
four places by the 3rd rib front and back
Daimon
Greater gate
area above and below the shoulder joint
Dokkotsu
Independent bone area of protruding bone; windpipe
Gedan
Low level
groin
Getsuei
Moonlight
right side of navel
Go-koku
base of the thumb
Go Rin
Five rings
around the stomach
Go Rin Uchi
Five rings hit
five points around the nipple
Hadome
Palate
end of the toothline; one sun below the earlobe
Happa
Eight leaves
clapping the ears
Hiryuran
Flying dragon melee eyeballs
Hiza ura
Back of the knee
soft spot at the back of the knee
Hoshizawa
Cliff of stars
elbow joint
In
Shadow
inside the swell of the cheekbones
Inazuma
Lightning
right side of the upper abdomen; place where
11&12th
ribs reside protecting gall blader & liver.
Ittoki
One time
hollow area of the throat. left and right
Jakkin
Weak muscle
upper arm between bone and muscle: area of the
Jakkotsu
Feeble bone
area above and below middle arm joint
Jinchu
Center of the Human upper lip directly below nose. If struck with force
will
shift the head backward & effect spinal
column. Struck
harder can effect facial nerves,
mouth, nose & jaw area
as well as breathing.
Jin ju
upper lip
Jo-wan
upper arm
Jujiro
Crossroads
frontal portion of the shoulder bone
Kage
Shadow
solar plexus
Kaku
outer lower part of the thigh
Kasumi
Fog or Mist
temple area (sphenoid bone) where several facial
nerves
gather. When pressure is applied or when struck
with a
bit of force the result can be great pain, loss of
vision &
unconsciousness.
Kenkotsu
Hard bone
four places on the skull / Tenkotsu (heavenly bone)
Kin
Forbidden
above and below the eye
Ketsuseki
Blood stop
right and left base of the neck on back
Kinketsu
Forbidden burrow knee joint
Kinteki
Golden target
testicles
Kirigasumi
hinge of the jaw "Under the ear."
Kobura
shin
Koe
Voice
hollow area of the hip bones; brings illness and

Kori

includes metatarsus & phalanges as well as abductor

instantly.
Kosei
Tiger force
testicles
Koshitsubo
Side bowl
middle of the hip joint
Kyokei
Strong frontier
top of the five toes
Matsukaze
Wind in the pines
hollow area of the throat, left and right
Menbu
Face
facial area, forehead
Mento
Escape door
clapping both ears
Muko-zune
shin
Murasame
Passing rain
straight under the hollow point of the throat
Nagare
Current or flow
outer forearms
Omote Gyaku Outer reverse
back of the hand, metacarpal bone
Omote Kimon Outer demon gate ribs above the pectoral muscle
Rangiku
Tangled chrysanthemum temple area
Roka
Dew or mist
point of the jaw directly below the ears
Ryosode
Both sleeves
clapping both ears
Ryufu
Willow wind
wind pipe; above and below adam's apple
Ryuge
Lower dragon
calf
Ryuka
Dragon under
calf
Ryu mon
Dragon gate
hollow point in the shoulders
Sai
Crush
outer / inner thigh area
Sain
Left passivity
below the left eye
Sakoku
Left valley
inner thigh
Santo
Three hits
ends of the clavicle; hollow area of the throat left and
Sei
Star
directly into the armpit
Seitaku
Star in the swamp hollow area of the elbow joint
Sha da som
two fingers below the ear
Shakutaku
Scaling Valley
the radius (outer) or ulna (inner) parts of the wrist as it is
results in pain, loss of function in the arm, hand &
fingers
Shichibatsu
Rip out seven
lovehandles, side of body above hips
Shinchu
Center of human
middle of chest
Shikotsu
Phalanx
the crotch like area of the thumb
Shishiran
Lion melee
solar plexus, stomach
Sobi
Grass yield
center part of the calf or gastrocnemis muscle. Striking
Suigetsu
Water moon
below the solar plexus above the stomach;
xiphoid
process
Suzu
Bell
testicles
Ten Mon
Heaven's gate
above and below the eye / nose
Ten To
Heaven's head
fontanelle area of the head; soft spot at the top of
Toki
Time
top of the foot just above the toes
Tsukikage
Moon's Reflection front left side of the upper abdomen; place where
Tsurigane
Hanging bell
the groin & scrotum area on men. Grabbing the area
can
cause great pain, loss of bladder control and if
struck
with sufficient force, internal bleeding
leading to death.
Instep victory

Tsuygasumi
Uko
Ura Gyaku
Ura Kimon
Waki boshi
Waki shita
Yaku
Yu-gasumi
Yubitsubo
Yuin
Yukoku
Yusai
Zen-wan

Drop of mist
underneath the jaw at the rear
Rain door
lymphatic glands of the neck and the whole area of
Inner reverse
base of the thumb at the wrist
Inner demon gate
space between the 4th and 5th rib; armpit below the
Side star
upper inner bicep
ribs on the side
Press
inside midcalf
Evening mist
hollow point behind the ear
Finger pot
base of the thumb
Right passivity
below the right eye
Right valley
right side
Right crush
right side inner thigh
forearm

KOTO RYU KURAI DORI

Kurai Dori means, To take proper distance. Not all Kamae are used to initiate a fight
sequence. Some Kamae are used to create the required distance between you and your
opponent. Therefore, in such a case as this you really need to become aware of the
background for each Kamae.
1. HIDARI SEIGAN NO KAMAE
The left leg is forward and slightly bent. The left arm is straight out pointing at Ukes
face, and the hand is in Fudo ken. The right hand is in Shuto, and is held above the left
bicep with the palm facing towards the face.
NOTE: Ichimonji no Kamae, has the rear hand in Shuto. "In Koto Ryu" for Migi Seigan,
your hand is placed in front of you, pointing at the adversary, and the left hand is placed
in such a way that protects you from potential attack. Even though this is Migi Seigan no
Kamae, in reality your mind and heart can assume Kage no Kamae (Shadow position),
which can be Ichimonji no Kamae, Hoko no Kamae etc. You are ready for any type of
attack. Since this is called Kurai Dori, foot positioning becomes very important and is
crucial for proper distancing. This will help freedom of movement.
2. MIGI SEIGAN NO KAMAE - Correct eye stance
The Kamae is the same as Hidari Seigan no Kamae, but in Migi.
NOTE: If the feet are not capable of moving then this is not a
true Seigan. For the Seigan no Kamae, the lead hand is placed so
that it will protect you. Even though you are in this Kamae, your
heart and mind must be in Kage Kamae (Shadow posture). As

you can see, this left Seigan no Kamae is different from the illustration you saw before.
This posture is what your heart is feeling. With this posture, you attack and strike the
hidden target.

3. HIRA ICHIMONJI NO KAMAE - Flat figure 1 posture

The arms are held out to the side of the body, shoulder height. The left sole of the foot
rests on the inside of the right calf. Hands are in Shuto
NOTE: With the Hira Ichimonji no Kamae, you must imagine yourself to be a spinning
top, striking out as you spin. A top in motion flies away at a tangent from what hits it, and
continues to spin.
4. HOKO NO KAMAE Bear receiving posture.
The left foot is slightly forwards, and the body is upright. The
hands are held above the head in Shako Ken. The whole posture
looks as though you are holding a large ball. The weight ratio is
70/30 forwards. Make yourself look big.
NOTE: Make yourself look bigger". You are showing yourself to
the enemy, and saying "I will protect myself no matter what".
When some animals meet their enemy, they threaten the enemy by
making their body look bigger than what it is. This posture is good
for a small person, and the attitude for this posture is, "I will defend myself no matter
what happens, attack whenever you want". Your centre of gravity is balanced in the air.
5. BOBBI NO KAMAE
The body is more up right than Ichimonji, and is side on to Uke. The right hand is at the
obi, in a Fudo Ken, the left-hand points directly in a straight line at Uke. You can also
face straight on to Uke.
NOTE: This posture contains the mental attitude - Come anytime. The foot positioning of
the Koto Ryu is very important in Kamae. It will also help with distancing. This will also
give you freedom of movement. Right hand is in front and left hand is on the hip. You are
ready for any attack any time. Since this is Kurai Dori "Proper positioning' your foot
must follow the orbit of victory.
"Kurai Dori" literally means to take a position, but this only hints at its full meaning.
Does it mean to take a kamae? Yes. Does it mean to take a kamae relative to your
opponent(s)? Yes. Does it mean to take a kamae relative to your opponent(s) and also
physical objects around you? Yes. Is there a wall or a window behind you? Behind your
opponent(s)? Are other people or animals around? What are the weather conditions? Is it
raining? Is it day or night? Is the sun at my back? Is it windy? What is the effect of all
these things? What is my relative position to my environment? "Kurai Dori" is all these

things and much more! Is your environment composed of only physical components?
What about your emotional environment? Is your boss pleased or agitated? Is your
spouse happy or sad? What is the emotional state of your opponent? Is he enraged? Cool
and detached? Frantic? What is my emotional state relative to them? How does that affect
things? This also is "Kurai Dori". What about your spiritual environment? Do you have a
pure and benevolent heart or are you spiritually hollow? Is your spirit strong? What about
those around you? What is the nature of their spirit? Good, bad, weak, strong? What
effect does their spirit have on your spirit and yours on theirs? Yes, "Kurai Dori" is
taking a position, but it is doing it with a complete awareness of your environment on
every level. "Kurai Dori" is the awareness and understanding that lays the foundation for
"Koppo.
KIHON WAZA
Geri Waza - kicking techniques
Practice all kicks ten - high, chi - middle, jin - low
1. Sokuyaku keri *
forward with sole
This kick is the basic kicking formation. First dropping the hips and bringing the thigh
to the chest, kick as if pushing out with the bottom of the foot.
2. Sokugyaku keri*
koe keri
hiza ura kinketsu keri

forward with toes

toe kick to koe
toe kick to the back of the knee

3. Omote sokugyaku keri *

kicking upward and outward with toes and sole
Outward turning the sole of the foot towards the center, kick up with the toes and inner
side of the hallux. Kicking up high. A double kick with the sokugyakuken to asagasumi
and sokuyakuken to jakkin.
4. Sokushi keri
Kobura keri
pt.)
Kinteki sokushi keri

aruki and ball of foot kick to groin

5. Sokuto keri

knife edge of foot

forward with ball of foot

kick with the ball of the foot on the calf muscle (kobura kyusho

6. Haisoku keri
instep of foot
sokko keri
stamp with instep under the attacking arm or leg
7. Sokuho keri
sideways foot stamp
With the side kick first bring up the thigh against the side of the body and then go into
the kick. Practice Ten Chi Jin.
8. Kakushi keri (aka ten ken Keri)* hidden kick

With all kicks, train tenchijin (high, middle, low). As a return fist after this kick has
gone out, using sokkiken (knee strike) then sokko keri (instep kick) one should train in
continuing with kicking combinations.
9. Sokuyaku sui teiken *

horizontal heel kick

10. Sokuyaku harai ken *

inward sweeping sole of the foot kick (crescent)

11. Koho keri

backwards foot stamp
Lower the body forward as much as possible, bend the knee joint, and fixing the target,
kick backward. The head and sole are in a straight line. The upper limbs keep the rhythm
with sanshin furi (three heart swing); the hands may also touch the ground to maintain
balance.
12. Naname koho keri
backwards out on an angle
13. kagi koho keri
heel hook backwards
The suzu kick is taken as an example; rather than kicking with the sole of the foot, hit
suzu with a counter action to the bending forward of the upper body.
14. Koken keri
rearward diagonal hooking kick
A kicking method with a hooking variation from the rear diagonal kick. Be careful, as
the nuance is slightly different from that of mawashi keri (roundhouse kick).
15. Yoko take ori

kick to the inside of the knee

16. Kurubushi keri

kick with - to the ankle bone

17. Sokki fumi ori

stamp with the instep

18. Ushiro muki naisai keri (turning toward the back inside kick) attack behind - kick to
behind
19. Naisai ashi ura keri

(inside leg back kick) aruki and foot kick

20. Tobi keri

mae tobi keri
yoko tobi keri

jumping kick
forward jumping kick
sideways jumping kick

21. Kakato keri *

mukozume keri
gaisai kakato keri

forward with heel

heel stamp to the shin
(outside heel kick) aruki and heel / heel

Combination kicks * A double kick with the sokugyakuken to asagasumi and sokuyakuken to jakkin.
* kakushi keri, return fist after this kick has gone out, using sokkiken (knee strike) then
sokko keri (instep kick) one should train in continuing with kicking combinations.

* tobi ni keri

Shoden no Kata
Yoko Toh
The attacker performs Kumi uchi Strike with a right boshiken to the left side of the
attackers neck then kick to the attackers groin with your right leg in a sanshin motion. As
your foot touches the floor strike with a right Shakko ken to the face
Oh Gyaku
The attacker holds you in Kumi uchi and attempts a throw. Lower your body and step
back with the left foot. Strike into the attackers right kidney with a left boshiken strike.
Strike with a fudo ken (using the base of the fist) to the attackers sternum.
Ko Yoko
From Seigan no kamae, the attacker performs a right punch. From Seigan no kamae step
back and to the right with your right foot and perform a left Jodan uke. Then without
changing the position of your feet rock forward on your left knee and perform a Shikan
ken to the attackers right ribs. Yoko aruki by stepping forward across your left foot with
you right sliding your left arm under his right. Then step across his with your left, now
use Yoko aruki to unbalance him and throw with Ganseki nage.
Shuto
The attacker performs a double handed lapel grab. Perform a ryote koppo ken to the
attackers temples and performs uzamaki to throw.
Hosoku
From Seigan no kamae the attacker performs a right punch followed by a left punch.
From Seigan no kamae step back and to the right with your right foot and perform a left
jodan uke. Then step back and to the left with the left foot and perform a right jodan uke.
Then perform a right Boshiken to koe followed by a Kikaku ken to men
Hou Teki
The attacker grabs your lapel with his left hand and performs a right Jodan tsuki. Take
hold of the attackers right hand. Step back and to the right with the right foot to avoid the
punch and perform a left jodan uke.Take hold of his left wrist with your left hand and
take hold of his elbow with your right hand attacking the nerve points around the elbow.
Turn anti-clockwise barring his arm across your chest and turn your hips anti-clockwise
to throw.

Setto
The attacker performs a right handed lapel grab. Step to the left with your left foot
performing a right shuto ken to the attackers right jakkin. Then step forward with the left
foot striking with Boshiken to the attackers right ribs.
Keto
The attacker performs a double handed grab to your lapels Strike with ryote Shikan ken
to kote. Perform a right Sokoyaku ken to Gorin.
Saku Geki
The attacker attempts to perform a double handed lapel grab. Before the attacker grabs
you perform a right rising Koppo ken strike to the attackers chin by stepping forward
with the right foot. Then kick the inside of his right knee with a right Sokoyaku ken.
Batsugi
The attacker performs a right handed lapel grab. Hold the attackers hand with your left
hand strike to men with a Go Shi tan ken. Perform an omote gyaku on the attackers right
wrist, turning anti-clockwise to strike with your right elbow to his arm to aid the throw.
Gan Gaki
From Seigan the attacker performs a right tsuki followed by a left tsuki. From Seigan,
step back and to the right with your right foot and perform a left Jodan uke. Then step
back and to the left and perform a right Jodan Uke.Move into Hoko no kamae and
perform a sokuyaku ken to Suigetsu.
Shato
The attacker performs a right handed lapel grab followed by a left punch. Take hold of
the attackers right hand with your left and step back and to the left with your left foot and
perform a right jodan uke.Step forward with the right foot performing a right koppo ken
to Kasumi.Strike to the attackers groin with a right kick (sanshin type motion).
Shihaku
From Seigan the attacker performs a right tsuki followed by a left tsuki. From Segain step
back and to the right with your right foot and perform a left Jodan uke, then step back and
to to left with the left foot and perform a right jodan uke. Move into Hoko no kamae
lifting up your left foot as if you were going to perform a kick, replace your foot on the
floor striking with a left shikan ken to Suigetsu.

Kyogi
From Seigan the attacker performs a right punch followed by a left punch. From seigan
step back and to the right with the right foot and perform a left Jodan uke taking hold of
his right wrist with your left hand. Step to the left with the left foot and perform a right
jodan uke.Yoko aruki by placing your right foot infont of your left and the step to your
left with your left foot and then kick the inside of the attackers right ankle with your right
foot to take him to the floor. Kneel on Sai with your right knee and strike right boshiken
to koe.
Kako
From Seigan the opponent performs a right tsuki followed by a left Tsuki. From Seigan
step back and to te right with the right foot and perform a left jodan uke, step back and to
the left with the left foot and perform a right Jodan uke. Perform a right Sokuyaku ken to
Koe and a right Shi tan ken to Mura same.
Ura Nami
From Seigan the attacker performs a right punch followed by a left punch. From seigan
step back and to the right with your right foot and perform left jodan uke, step back and
to the left and perform a right jodan uke.Perform a right sokuyaku ken to his right leg and
perform a ryote koppo ken to his neck to take him down.
Ten Chi
From Seigan no Kamae the attacker performs a right tsuki followed by a left tsuki. From
Seigan no Kamae step back and to the right with the right foot and perform a left jodan
uke.To avoid the second punch rock forward by bending the left knee. Perform a sanshin
type kick to Suzo and as your right foot touches the floor perform a right Shako ken to
men.
Kata Maki
From Seigan no Kamae the attacker performs a right Tsuki followed by a left Tsuki.
From Seigan no Kamae step back and to the right with the right foot and perform a left
jodan uke. Then step back and to the left with the left foot to and perform a right jodan
uke. You then apply musha dori to his left arm using your right arm and strike to the
attackers ribs with a left boshiken turning clockwise to take him to the ground.

Chuden Kata
Hida
From Seigan no Kamae the attacker performs a right Tsuki.
From Seigan no kamae step back and to the right with the right foot and perform a left
jodan uke taking hold of the attackers right wrist with your left hand. Without stepping
forward perform a right Ura Shuto to the attackers neck and grab the attackers right
shoulder with your right hand. Kick to the attackers groin with the right foot and apply
Oh Gyaku as you step back to kneel on your right knee.
Hisaku
The opponent walks towards you.
Strike with San shi tan ken to the opponents left Kimon .Grab his shoulders with both
hands and leap up encircling your legs around the attacker and cross your ankle so that
they are interlocked. Now straighten your legs out to perform a Do jime. Drop down and
pull on his ankles to drop him to the ground. Perform a right Kagato to the Suigetsu.
Hicho
Walk towards to opponent, perform a right shako ken to face followed by a right
sokuyaku ken to gorin.
Hito
Walk towards the opponent, perform a right san shi tan ken to kimon, perform a double
kick to the opponents chest, drop to the floor and perform a koho kaiten.
Kappi
Walk towards your opponent. Step to the left with your left foot and strike a right Ura
Shuto to the right side of the attackers neck. Step to the right with your right foot as you
perform a left Ura Shuto to the left side of the attackers neck. Koho tobi.
Monpi
Walk towards the opponent. Strike to his armpit and grab, then perform a right Shako ken
and kick to his koe with a right Sokuyaku ken.

Suito
From Seigan no Kamae the attacker performs a right tsuki followed by a left tsuki.Then
the attacker grabs the head in a head lock.
From Seigan no kamae step back and to the right with the right foot and perform a left
Jodan Uke, then step back and to the left with the left foot and perform a right Jodan
Uke.Strike to Kimon with a right fudo ken followed by a fudo ken to under the attackers
chin to release his grip. Apply Ura Gyaku to his right hand. Then sweep his leg to topple
him and kick his ribs.
Gohi
Walk towards your opponen.Perform a right san shi tan ken to Murasame.
Hehi
Walk towards your opponent. Strike to Murasame with a right Sanshi tanken then follow
with a shako ken to his face. Koho tobi.
Teki Gaeshi
Walk towards the opponent. Strike a right boshi ken to his shoulder and strike sokuyaku
ken to sai.
Koto
Walk towards you opponent.Strike to Murasame with a right san shi tan ken and then
strike sokuyaku ken to the groin.
Kakuhi
Walk towards your opponent.The opponent then grabs your left lapel with his right hand.
Strike fudoken to under his chin and then a sokuyaku ken to koe.

Okuden no kata
Santo
The attacker performs an Uchi mata throw
As he performs the kick to the inner thigh strike his thigh dith a right fudoken. Step back
with you right foot and strike to jakkin with a left fudoken

Santo
The attacker performs a right tsuki whilst armed with a tanto.
From Seigan no Kamae step back and to the left with your left foot to avoid the tsuki and
take hold of his right wrist with your left hand. Strike Ura hoshi with Go shi tan ken.
Strike kote with a right fudo ken and apply Omote Gyaku.
Koto
The attacker performs a right Tenchi giri with a tanto.
From Shizen no Kamae, drop to your right knee and attack his right arm with a left Jodan
uke. Step up and perform a ryote happa ken and kick with right foot to Suzo.
Shisen
The attacker performs a double lapel grab.
Perform a ryote happa ken to Mimi, take hold of Mimi and pull the attacker into a kikaku
ken to men.
Kompi
From Seigan no Kamae the attacker performs a right tsuki.
From Seigan no kamae step forward and to the left with the left foot thus avoiding the
attack stepping on right Toki. Strike right Uko with Ura shuto and perform Koho Tobi
Sho Setsu
The attacker walks towards you.
Strike to Kimon with a right Fudo ken.Step to left to trap his right foot and perform a
right sokuyaku ken to gorin.
So Setsu
The attacker walks towards you.
Strike ryote Shako ken to the attackers sides and kneel on your right knee whilst pushing
up with the left hand and pulling down with the right hand.
Soto
The attacker performs a double handed lapel grab.

Perform a double handed grab to his trapezius muscles (Ryomon) and strike Kikaku ken
to men. Step between his legs and perform Tachi Nagare (kicking to his groin) continue
the rolling motion so you end up on top of your opponent.
Ko No Ki
The opponent walks towards you.
Perform Ryote happa ken to Mimi. Then perform a ryote tobi Sokuyaku ken to gorin.
Koho Kaiten.
Kimon
The attacker performs a double handed lapel grab.
Perform a double handed grab to the attackers sides. Step forward with your right foot to
perform Kikaku ken to men. Drop to the left knee whilst turning clockwise to throw.
Ran Setsu
The attacker performs a double handed lapel grab.
Perform a double handed grab to the attackers sides. Step forward with your left leg and
perform Tachi Nagare kicking up to the attackers groin pulling him forward with your
hands to throw him to the ground face down.
Ura Kimon
The attacker walks toward you.
Strike with Go Shi tan ken to Ura Kimon and then perform a right Sokuyaku ken to koe.

Hekito no Kata
Soku Boku
The attacker performs a Tenchi giri with katana.
From Seigan no kamae step forward and to the left with your left foot. Strike with a kick
to the underside of his right arm. As you place your foot on the floor strike with Shako
ken to men.

Boku Hen
The attacker performs a horizontal cut to your right side. Then the attacker performs a
Tenchi giri.
From Shizen step backwards to avoid the first cut. Step in jamming his elbows with your
hands and perform a right sokuyaku ken to Gorin.
Damara
From Seigan no kamae the attacker performs a Tsuki.
From Hoko no Kamae, step forward and to the left with the left foot to avoid the Tsuki,
take hold of his right wrist with your left hand and perform a right Shikan ken to kote.
Apply Omote Gyaku.
Shuto
From Daijodan the attacker performs a tenchi giri.
From Bobbi no Kamae step forward and to the left with the left foot to avoid the cut and
strike his forearm with a right shuto. Strike Jinchu with a left Shuto.
Kibo
From Daijodan no Kamae the attacker performs a tenchi giri.
From Migi Seigan step forward and to the left with the left foot to avoid the strike. Strike
with fudo ken to his right triceps and perform a right sokuyaku ken to his ribs.
Batsu Yo
From Chudan no kamae the attacker performs a horizontal cut to your right side.
From Bobbi no Kamae.Step forward and to the left with the left foot avoiding the strike
stopping his arms with your left hand.
Strike with a right fudo ken to Jinchu.
Kuahi
From Chudan the attacker performs a tsuki and then steps into Daijodan to perform a
tenchi giri.
Drop to the floor to avoid the first cut, as he raises the sword into Daijodan spring up and
perform a double sokuyaku ken to his ribs.

Saki Ryoku
From Daijodan the attacker performs a Tenchi Giri.
From Hoko no Kamae, step forward with your right foot under the sword (Moguri kata)
and perform a right fudo ken to his solar plexus.