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TOGAKURE RYU BIKENJUTSU

KOTSU
Characteristics of the shinobigatana are that it is very plain and slightly blackish, perhaps
due to lack of maintenance. The blade ranged from 1 shaku, 4 sun (16.7 inches) - 1 shaku
8 sun (21.5 inch). This enabled the user to fight in confined spaces. Apart from the short
shinobigatana, the long daito is also used.

The sageo is up to 12 feet (4m) long, and is used in sageo nanajutsu (the seven ways to
use the sageo cord).

The saya is also longer than the length of the blade so that metsubushi can be hidden
inside easily. The kojiri end of the saya is removable, for use in suiton, as a snorkel
(shinodake, one of the three secret tools of Togakure-Ryu).

You can use the saya as a weapon, or spray metsubushi from it by holding the sageo and
swinging the saya around.

Hold the sword lightly so that you can move it quickly and easily with the feeling of
throwing it. Focus your grip on impact and then hold the sword lightly again.

1. The short length of the blade can make a difference with drawing the sword at
speed.
2. The short sword means that the kamae must have the short sword thrust out,
such as in ichi no kamae.
3. The saya has a longer sageo.
4. In tosui no kamae, the left shoulder being forwards means that you are
vulnerable.

Taito - Wearing a Sword


1. With a Dai-Katana, hold it vertical, with the Kojiri on the ground, in the right
hand.
2. Wear the Katana in the Obi on the right side.
3. Wear the Katana in the Obi on the left side.
4. Wear the Katana across the back on the left side.
5. Wear the Katana across the back on the right side.
6. Wear a Dai-katana, strapped across the back

Shinobi Iai Happo Sabaki Gata


The sword drawing techniques require free movement of the feet. This are the eight ways
of footwork for drawing the sword.

Start each in shizen tai.

1. Yoko aruki across to the right (left over right)


2. Yoko aruki across to the left (right over left)
3. Move left foot diagonally back to the left
TOGAKURE RYU BIKENJUTSU

4. Move right foot diagonally back to the right


5. Move forwards with right foot
6. Move back with left foot
7. Move diagonally forwards to right
8. Move diagonally forwards to left

Koi Kuchi Kiri - Break The Carps Mouth (Unlocking the sword)
When the katana is to be drawn, the left hand grips the saya lightly near the
mouth of the saya (koi kuchi). The index finger presses against the tsuba and
pushes the katana out of the saya. This is in contrast to using your thumb in the
normal manner, therefore it is kept hidden.
o A variation of this is to use the thumb instead of the index finger but
pushing off to the side instead of straight on, therefore still keeping it
hidden.
o A way of further hiding the fact that you will draw your katana is to clamp
it close to the body with the left arm. Normally, the left hand grabs the
Saya to stop it being pulled from the obi when the katana is drawn.
Clamping it in this way will hide your actions.
o A variation of this is to turn the body to the left and grab the Saya with the
left hand (the turn hides the grab), and when you turn back to face uke,
you draw the katana in the turn.
Another method of drawing the sword is one handed. This is to take hold of the
tsuka with the left hand (reverse grip), and pull it out of the Saya. When the blade
is out it runs the length of the forearm and can be almost hidden from view. It can
also be used to help aid a block. Lift the hand so that it is head height and that the
sword finishes level. To draw a longer sword with the left hand, take hold of the
tsuka and turn both the sword and saya so that the blades cutting-edge is facing
downwards. Push the tsuka backwards towards your obi as far as it will go and
then draw the sword forwards and upwards.

Kage no Itto (Single sword shadow)


This reverse draw starts on the left side and is moved to the right across the back. A great
deal of flexibility is required in the wrists for the sword to be turned, and lifted in a single
movement, and then drawn over the right shoulder with the right hand.
This technique is best transmitted orally.

This is also known as 'Ninja Shinden Iai-Giri'. It is used when there is an obstacle or
person in the way.

Itto Nage (Single sword throw)


Tori is in shizen tai with the Katana in the obi. Tori draws the katana horizontally, and
then brings it straight back (still horizontal) to rest on the upper left arm with the sword
tip to the rear (right foot is still forwards). The left arm hangs limply straight down,
TOGAKURE RYU BIKENJUTSU

between the legs. When nothing else can be done, and you have to throw your sword,
throw it this way, just like throwing shuriken. In the shinobi gaeshi gata it is also taught
to throw the sword like a spear or as in fu no kata.

Katate Gyaku Nuki Single Handed Reverse Draw


Using the 8 methods of the shinobi iai, also practise the following method:

Uke is in daijodan and does a shomen giri. Tori, in batto no kamae, steps back to
the right as your left hand draws your blade in gyaku nuki, blocking his cut.
Metsubushi to his eyes as you kick sokuyaku ken to his left sai. Kesa giri from
right to left.

Iai Mai - Sword Distancing


Generally, when one draws the katana, you step forwards with the right foot as you draw.
This brings you closer to your opponent. When faced with this situation, to step forwards
would be dangerous, as you would both be extremely close to one another. In this case,
step back with the left foot as your opponent draws to open the distance between you. As
the shinobigatana is slightly shorter than a standard katana, the ninja-ken should draw
quicker. If you use shomen giri nuki uchi, your sword should cut down to kote before
your opponent has time to completely draw his katana.

Iai Mai Henka- Sword Distancing Variation


This time, do yoko aruki to the left cutting down to kote. The tip of your sword is then
passed between the opponents forearms (over the right, under the left), followed by a step
a little around to the right. Take hold of the opponent's tsuka and lifts the tip of the sword
up and over to the left, turning your opponent over onto his right side. Control with both
swords.

NOTE: For training in biken, it is desirable to master taijutsu. This is because


kenjutsu begins with taijutsu and ends with taijutsu. If you cannot properly move
your body, your weapon as extension of that will be useless.

Methods of using the Sageo


1. Saya balanced on the kissaki of the sword (cutting edge upwards), held by the
sageo in the mouth at arms length to probe at ground level for enemies in the
darkness. If an enemy is encountered, let go of the sageo, pull the sword back
slightly and tsuki forward into the enemy. This is known as zazagashi.
2. Sageo can be used to tie yourself to a tree so you can sleep up in the branches.
3. Use the saya as a weapon, or spray metsubushi from it by holding the sageo and
swinging the saya around.
4. Use the saya as a step-up against an object (i.e. a wall) and then use the sageo to
pull the saya up after you.
TOGAKURE RYU BIKENJUTSU

5. Use the sageo to tie up an enemy hojojutsu.


6. Additional methods (the full sageo nanjutsu) are found under the Shinobi Gatana
section.

Tsuki Tobasu - Cutting from Daijodan


Feel the balance of the sword above the head, the kashira should point at the ukes feet.
Use the spine to arch backwards, this causes the natural weight of the sword going
backwards to raise the kashira so that it points at ukes face. Then, pull down with the left
hand and punch forwards with the right hand to thrust the sword forward with a cut. Walk
as you thrust/cut - this is called tsuki tobasu.

Notes on Iai
Drop the weight and push the saya mouth back to the left hip as you either step back with
the left leg or forward with the right leg. The tsuka kashira points downwards slightly.
Cut with a thrusting motion (tsuki forward with the tsuka kashira), not by drawing the
sword up and chopping down.
The saya mouth is held (and pushed back) between the forefinger and thumb of the left
hand.
Draw and cut using tsuki tobasu.
You must hold the sword lightly when you draw it to allow quick movement and
repositioning. Tighten as you cut or make contact.
Prior to drawing the sword, the kashira must point at the uke.
When the uke is doing a draw and you want to counter by also drawing, aim at the ukes
tsuba - this will mean that your blade will make contact with his kote.
To counter a draw with a draw, step to the left and slightly forward with your left foot.
Your left heel touches the floor first and the foot rolls flat along the outside ridge from
heel to toe. As the left foot rolls, turn the foot so that the toes face in Ukes direction
(this will turn your hips and aim your tsuka kashira at Uke).
If your drawing hand is slippery, cut or maimed you wont be able to grip the handle
properly - in this case, use your right thumb and forefinger behind (blade side) the tsuba
to draw the sword. The tsuba is gripped between the forefinger and middle finger.
Use the thumb to push the tsuba (to the side of the blade) slightly to release the blade
from the saya.
Dont do this too much or Uke will see that your sword is ready to draw.
As the sword extends, drop your weight by bending the knees to supply the downward
component of the cut.
TOGAKURE RYU BIKENJUTSU

One way of drawing quickly is to push the sheathed sword out to the front so it extends
forwards and the right hand takes hold of the sword handle, then pull the saya back to
draw the blade.
When advancing towards the uke (when you are wearing daisho), vary the rhythm, pace
and length of your stride so that the moment of your attack is unpredictable.
When wearing daisho and retreating from the uke, you must keep the kashira of one of
your swords pointing at the uke at all times. This of course means you are facing the uke
the whole time as you back-peddle. The swords remain in their saya and you can point
with one, then the other as you retreat with an unpredictable rhythm. Pointing the kashira
means that one of your swords will always be on target if you suddenly need to draw.
This same idea also works when advancing rather than retreating.
The most important thing in iaijutsu is drawing the sword / freeing the blade so it can be
used. Everything else is secondary.
When walking with a sheathed sword in your obi, you wouldnt ordinarily be holding the
sword with either hand. Consider this when doing techniques.
You can draw the sword using standard grip, reverse grip, cutting downwards, upwards,
sideways etc. using the principles above.

When cutting, if you walk, this will free your spine and the cut will be more natural. If
you dont walk the cut wont be natural. Apply this idea to other weapons and taijutsu.

For kesa giri, use the spine (turning side-on) to apply this cut, dont let the sword tip
travel too far downward once it has passed the level of the ukes hips.

For gyaku kesa giri, again use the spine (turning side-on and arching back) to apply the
cut. Dont let the sword tip travel too far upwards once it has passed the level of the ukes
shoulders.

When doing a draw and the follow-up one-handed tsuki tobasu, the tsuka lies along the
inside of the right forearm for stability. As the left leg steps forward, bring the sword
down to the rear and grip two-handed, as the right foot steps forward the sword is raised
and a jodan giri is applied all in one smooth motion. Continue with a tsuki tobasu after
this cut also.

When you cut, you usually push away from you rather than pull towards you.
The bokken used in matches is a weapon in itself and is called a shiai bokuto.

To break the ukes sword by striking it with yours, you need to hit either the middle of
the ukes blade or further up near to his tsuba.

Once drawn, from seigan no kamae, move into daijodan no kamae as follows: step
forwards with the left leg (or backwards with the right leg) and at the same time push the
kashira upwards with the left hand so that the sword is raised into the position for
TOGAKURE RYU BIKENJUTSU

daijodan. As your hand pushes upwards your weight sinks downwards by bending your
knees.

Noto Re-sheathing the sword


While you are re-sheathing the sword, keep either the point or the edge of the blade
facing the uke i.e. blade held horizontally in front of your body.

The back of the blade should be guided along the side of the forefinger until you reach
the kissaki and place it in the saya. In the beginning you can pinch the blade using your
thumb and foreigner, but this should be avoided as it will cause excessive skin oil to be
put on the blade.

WAZA
Sword held in the belt in an upright position.

Uke and tori walk towards each other so they will pass with their right sides together.
When within range, uke begins a do-giri nuki uchi. Tori draws his sword straight up
as he bends his knees and sinks his weight down. Tori turns and bring his sword
down (held vertical with the tip at the top), projecting his intention at the uke through
the tsuba rather than the boshi. The toris blade stops the ukes draw by cutting ukes
kote from this position.

Uke is in daijodan, tori is in seigan. Tori gives an opening by moving the point of his
sword to the (his) left, the uke then cuts down with shomen giri. Tori steps forward to
ukes outside with his left leg. As he does this, tori turns the fingers of his right hand
upward so that this hand is now holding the sword in a reverse grip. The palm of the
left hand pushes the kashira down so that the blade cuts upwards into the back of
Ukes right knee.

Uke is in seigan, tori is in hasso (hidari). Uke does a tsuki. Tori does a small jump to
the inside of the ukes tsuki so that he (tori) changes legs and his legs are lined up
parallel to the line of the ukes tsuki. As tori lands from this jump he uses his weight
dropping to knock the ukes sword down and to the ukes right rear. As the weight is
dropped, toris knees are well bent and tori uses this to launch into another jump - the
direction of the leap is in almost the opposite direction to the ukes tsuki. The leap is
used to power a horizontal cut across the ukes throat. Alternatively, the cut could be
at the other side of the ukes neck (like omote shuto).
o Note: Instead of the first jump, you could simply change legs with small
steps.

Uke and tori walk towards each other so that they will pass with their right sides.
Toris sword is in its saya, held vertically in the obi. As tori passes uke, tori draws his
sword straight up and cuts backwards and down to cut the back of ukes right knee
TOGAKURE RYU BIKENJUTSU

(tori keeps facing in the direction he was walking while doing this cut). Tori turns
clockwise to face uke and continues the motion of the cut upwards until the kissaki is
pointing at the uke. Tori then pushes kissaki down into the ukes right shichibatsu
(preferably so that the blade travels down ukes right leg as well).
o Note: Tori draws his sword as the uke passes, not before, so that the uke
cannot see the cut coming. Tori can also help to hide his draw by turning his
body to his left as he takes hold of the sword handle.

Uke is in daijodan, tori is in tenchi no kamae with the sword held vertically in front
of the body, the right leg is to the front and the left leg to the rear. Uke attacks with
shomen giri. Tori shifts his weight forward onto his right leg and meets the ukes
sword with his own (use the part of the blade just above the tsuba) in a clash. Uke
and toris sword blades now form a V between them - toris sword edge is turned
out to his right. To encourage the uke to push forward, tori uses a two-push rhythm:
tori pushes (using his knees) against ukes sword then receives ukes reacting push
with his knees. Tori then pushes again and as uke pushes in response, tori receives
and steps forward left to the outside of the ukes sword with his left foot (the right
foot sweeps round in a clockwise direction so that toris feet are parallel to the line of
the ukes push). As tori moves, he uses his left elbow to push ukes right elbow to
ukes left and toris sword blade rotates down and clockwise so that it comes around
onto the right side of ukes neck (tori can let go of the sword handle with his left hand
to do this). Toris left knee helps to take ukes balance by pressing into the outside of
ukes right knee. There should be at least three points of contact at the end of this
technique (sword on neck, knee against knee and elbow against ukes arm).

Uke is in Daijodan, Tori is in Tenchi no kamae with the sword held vertically (boshi
uppermost) in front of the body, the right leg is to the front and the left leg to the rear.
Uke attacks jodan giri. Tori shifts his weight forward onto his right leg and meets
Ukes sword with his own (use the part of the blade just above the tsuba) in a clash.
Ukes and Toris sword blades now form a V between them - Toris sword boshi is
turned out to his right. To encourage Uke to push forward, Tori uses a two-push
rhythm: Tori pushes (using his knees) against Ukes sword then receives Ukes
reacting push with his knees. Tori then pushes again and as Uke pushes in response,
Tori receives and does a small jump forward to the right so that his feet are lined
upparallel to Ukes push. Tori pulls the sword handle close into his body so that the
end of the blade cuts the left side of Ukes neck.

Uke is in Daijodan, Tori is in Tenchi no kamae with the sword held vertically (boshi
uppermost) in front of the body, the right leg is to the front and the left leg to the rear.
Uke attacks jodan giri. Tori shifts his weight forward onto his right leg and meets
Ukes sword with his own (use the part of the blade just above the tsuba) in a clash.
Ukes and Toris sword blades now form a V between them - Toris sword boshi is
turned out to his right. To encourage Uke to push forward, Tori uses a two-push
rhythm: Tori pushes (using his knees) against Ukes sword then receives Ukes
reacting push with his knees. Tori then pushes again and as Uke pushes in response,
Tori receives and bends his elbows to encourage Uke to push more and overcommit
TOGAKURE RYU BIKENJUTSU

himself. Tori then arches his spine backwards and drops underneath Ukes cut by
lowering his left knee so that his sword boshi is to his left. Tori then moves forward
right and cuts accross Ukes belly from left to right.

The above three techniques are basics. Once you can do these well, the next step is to
do the same technique but without clashing swords. Tori must still move forward and
project his intention as if he were to clash blades but then maintain a small distance
between the swords and complete the technique. For the third technique (where Tori
moves under Ukes sword) it is important to really arch the back backwards and even
tilt the head backwards as well. On all of these techniques, both basic and advanced
versions, the timing is very important - you must move correctly in response to Ukes
reaction to your push (or intention).

KAMAE - Postures

1.ICHI NO KAMAE - No 1 posture


Right foot forward. The sword is held in both hands horizontal, and is held straight out at
shoulder height, pointing at Ukes eyes. This posture is almost the same as the Gyokko
Ryu Ichimonji no kamae. Weight is 60/40 to the rear. Adapting to changes as in Henka

2.SEIGAN NO KAMAE - Correct eye posture


Right foot forward. The sword Kissaki points at Ukes eyes. The hilt is near the top of the
right thigh. Weight is 60/40 to the rear. With the intention of capturing and manipulating
the opponents mind
Kuden: With the intention of capturing and manipulating the opponents mind.
A.K.A Seigan gan-tsubushi no kamae (straight eye, eye destroying posture)

3.CHUDAN NO KAMAE - Middle level posture


Right foot forward. The sword is held horizontal at waist level. The arms are not straight
out. The kissaki points at the heart. Weight is 60/40 to the rear. Have the feeling of
drifting in space
Kuden: The feeling of drifting in space.

4.GEDAN NO KAMAE - Low level posture


Right foot forward. The body slightly leans forward. The hands are close to the navel,
and the sword points to the ground 45 forward, next to Toris right foot. Keep the
intention of stabbing at the opponents foot (Toki).
Kuden: With the intention of stabbing and opponents foot (the vital point called
Toki)

5. TOSUI NO KAMAE - Ridge water posture


Left foot forward. The left shoulder points down to the ground, and the body leans
forward more than Gedan. The sword points to the ground in front of your left toes. This
is both difficult, and dangerous.
TOGAKURE RYU BIKENJUTSU

Kuden: Munen Muso (thinking of nothing at all) and also the feeling of being on
top of thin ice.
NOTE: In Tosui the right shoulder being forward, you are vulnerable to attack.
The basic defence is to lift the sword as you step right or left, to the outside of the
attack. Use slight movements to the side, and cut as you walk past. Maintain
Munen Muso, and also the feeling of being on thin ice. This Kamae is a specialist
Kamae of the Togakure Ryu, but is also found in the Koto Ryu (Jizuri Gedan no
kamae).

6.HASSO NO KAMAE - 8 ways posture (a.k.a. Daijodan no kamae)


Left foot forward, and the feet almost touch each at the heels (the body is upright). The
sword is held on the right side, with the hands at shoulder height. The sword is vertical
next to the right ear. The cutting edge points to the right.
Kuden: Filling oneself with the feeling which matches that of a flash of lightning.
NOTE: The defence for this is to step to the right, and to the side of Uke. Cut to
the neck as you would with Shuto. Fill oneself with the feeling which matches
that of a flash of lightning.

7.KASUMI NO KAMAE - Haze posture


Left foot forward, the knees are bent at 90 degrees. The sword is held above the head,
with the hilt on the right side, and the sword tip on the left. The sword is horizontal, but
angles 45o forwards. Use Kyojitsu - seeing but pretending not to see.
Kuden: Kyojitsu, seeing but pretending not to see.

8. TOTOKU HYOSHI NO KAMAE - Sword hiding catapult posture


Useful for defending against projectile weapons, i.e. shuriken. Tori kneels on the left
knee (toes up). The right knee faces Uke. The sword is held in the right hand, and is
vertical with the cutting-edge facing to Toris left (left hand can hold the Saya). The body
must be side on, with the shoulders, hips, knees and feet/ankles all lined up behind the
sword. The sword is held in front of the face to protect it. If a shuriken goes low (to your
feet), lower the sword so that the tsuka deflects the shuriken. If the shuriken goes wide,
do not try and deflect it with your sword as if you move the sword from your centre line
you will be exposing a target. Only move the sword a small amount to the left or right
and make sure it stays vertical as you do so. An advanced way of suing this kamae is to
twist your sword blade as the shuriken hits it, this will send the shuriken flying off at
enemies to the side. Alternatively, if you flick the blade forward as the shuriken hits, it
will send the shuriken back at the enemy who threw it.
Kuden: Adapting to an unseen enemy.

KAMAE NO WAZA - Techniques using the Kamae

1. ICHI NO KAMAE
Uke is in Daijodan no Kamae, and does Jodan Kiri. Tori is in Ichi no kamae. Tori steps
forward slightly with the left foot, the swords just contact. The left hand releases the
Tsuka, and comes up under both of the Kote. Both of Tori's feet come closer to Uke.
TOGAKURE RYU BIKENJUTSU

Tori's left hand grabs the back of the blade, so that the cutting edge cuts into Ukes Kote.
Tori turns the blade flat, so that when the left hand pulls it cuts Ukes stomach. Tori then
steps back from Uke.
NOTE: If Uke is wearing chain mail, take both of his arms and pull the sword in
to cut.

2. SEIGAN NO KAMAE
Uke is in Daijodan no Kamae and does Jodan Kiri, Tori is in Seigan no kamae. Tori lifts
the sword to Gyaku Kasumi no kamae (Tsuka on the left) to block the cut. Tori steps
forward with the left foot, and turns to the right to face Uke. Tori releases his left hand
from the Tsuka. The Tsuka is placed over both of Ukes Kote, with the blade almost
vertical. The left hand comes under the Kote, and grabs the Tsuka. Tori turns the sword
blade back, and cuts to the right side of Ukes neck as he steps back.

3. CHUDAN NO KAMAE
Uke and Tori are in Chudan no kamae, Uke does a Chudan Tsuki. Tori steps forward to
the left, and drops the kissaki down to the right, by lifting the Tsuka. The swords clash.
Tori releases the left hand, and grabs Ukes right Nagare on top with the left hand. Tori
lifts his right hand to bring the sword to Ukes right shoulder, and cuts to the right cutting
the right side of the neck.
KUDEN: Change the 'Chu' of Chudan for Chu or Uchu (universe), and Chudan
becomes a posture of space.

4. GEDAN NO KAMAE
Tori is in Gedan no kamae. Uke is in Daijodan no kamae, and does Jodan Kiri. Tori steps
forward a little to the right, and lifts the blade to contact Ukes sword. Tori kicks up with
the right foot to Uke left Kote and does a L - R Do Kiri and advances forwards to the
right past Uke.
KUDEN: To understand Gedan, you must understand that 'Enlightenment is at
your feet'

5. TOSUI NO KAMAE
Tori is in Tosui no Kamae, Uke is in Daijodan no kamae and does Jodan Kiri. Tori steps
forward with the right foot almost like Shinobi Yoko Aruki, and lifts the sword on the left
side of Ukes sword, moving it over completely to the right then down and back to the left
(in a circle). With a short right stamp he cuts down on top of Ukes right shoulder or head.
HENKA
Disengaging slightly later, finish with horizontal cut to mid section right to left,
with full body weight as you step left.
HENKA
Lift the sword with a right step forwards, or left step forwards to the outside of
Ukes Jodan Kiri. With slight movements to the side cut as you walk.

6. HASSO NO KAMAE
Tori is in Hasso no kamae. Uke is in Daijodan no kamae, and does a Jodan Kiri. Tori
steps forward with the left foot, and drops the blade down on top of Ukes Kote (Tori's
TOGAKURE RYU BIKENJUTSU

hands stay in original place), with the kissaki pointing at the face. Tori does a shuffle step
forwards, and does a Tsuki to the face.
NOTE: If it misses Tori pulls the sword back cutting down on the shoulder.
HENKA
As Uke curs with Jodan Kiri, right step forward, and cut down with Kesa Giri to
the neck.

7. KASUMI NO KAMAE
Tori is in kasumi no kamae, Uke is in Seigan no kamae, and does a Chudan Tsuki. Tori
drops the sword, and sort of bats the sword to the left (the sword is almost vertical with
the Tsuka at the bottom). At the same time the right foot steps forward to the right, and
does a Katate Do Kiri under Ukes sword to the stomach.
NOTE: When Tori moves forward, it's as if he is starting to run.

8. TOTOKU HYOSHI
Tori is in Totoku Hiyoshi. Uke has Shuriken and one by one he throws the at Tori's face.
Tori uses the sword to bat the Shuriken away. It is important that you knock away only
the Shuriken that may hit you. It is a waste of time and you could be leaving yourself
open if you deflect Shuriken that will not hit you. Uke may throw these Shuriken to
tempt you to open your self up. When you become more advanced you can then move
onto Kyujutsu, and Sojutsu.

HAPPO BIKEN

1. HI RYU NO KEN - Flying dragon sword


Tori begins in Ichi no Kamae. Tori circles the sword up and clockwise twice, stepping
forward yoko aruki with his left foot as the sword comes to the front (passing through
Gedan no Kamae) for the second time. Tori keeps circling the sword once more and steps
forward with his right leg as the sword passes through Gedan no Kamae again. From this
low sword position, Tori steps forward with his left leg and cuts up from left to
right, gyaku kesa giri. This circling movement can be used against many attacks, i.e.
tsuki, jodan-giri, do-giri etc.

Application:
Uke does a Tsuki or Jodan Kiri. Rotate the sword left then up to the right (clockwise).
Repeat the movement. Continue the movement, and as the sword reaches you left hip,
step forward with the right foot. Continue to rotate the sword. As the sword comes to the
left hip, a right step forward. Gyaku Kesa Giri from left to right.
NOTE: The swords clash, and Tori keeps them together as he rotates his sword.
The change is Ihen no kamae. On the last rotation Tori cuts Ukes wrist.

HENKA
Uke is in Ichi no kamae, straight thrust to throat. Tori is also in Ichi no kamae, and does a
block/deflect down and to right, push blade down and right moving into two revolutions,
TOGAKURE RYU BIKENJUTSU

close distance during revolutions until close at completion of second, place blade
diagonally across opponent's neck (his left side), cut as you withdraw.

HENKA
Uke is in Dai Jodan no kamae, cuts straight down. Tori is in Chudan no kamae, step left
blocking blade to right, push blade down and right moving into one revolution as you
step to right, at the end of the second down movement, fluidly bring blade across
forearms cutting, then stepping to right past opponent cut diagonally up left to right.

HENKA
Uke is in Dai Jodan no kamae, cuts horizontally left to right. Tori is in Chudan no kamae,
step left blocking down and to right then circle blade for one revolution (stepping back
with left to avoid blades then forward with right on upstroke), just past peak of
revolution bring blade in and up under armpits cutting, cross step left behind right
turning left and moving in, drop to half-kneel on left knee and throw with blade, then
finish.

2. KASUMI NO KEN - Mist sword


Tori begins in Ichi/Chudan no Kamae. Tori steps forward with his left leg to cut do-giri
from left to right. From here, Tori uses his wrists to rotate the sword 360 degrees
clockwise. Tori steps back with his left leg (as in Ichi no Kamae) but brings the sword
back to his left shoulder like hasso. Tori repeats the above movement once more. From
the migi hasso, Tori extends his arms to Ichi no Kamae then steps forward (no do-giri),
clockwise deflection and steps back to migi hasso. From here Tori steps back with his
right leg and cuts kesa-giri from left to right (weight on back leg). The sword continues
moving along the path of the kesa-giri and comes up into a henka of Kasumi no Kamae
where the boshi is pointing at Uke. Tori then steps forward with his right leg to do tsuki.
Against an attacker, Toris do-giri is actually an intercept of Ukes jodan-giri (or other
attack). When Tori steps back with his right leg, it is to avoid Ukes tsuki and the kesa-
giri is to deflect the tsuki.

Application:
Chudan no kamae. Left step forward, and a short cut horizontal to the right. Rotate the
sword clockwise (final part is a cut down). Left step back to a left Hasso. Left step
forward with a L-R Do Giri (high) to Uko. Rotate the sword clockwise, and cut down.
Left step back to left Hasso. Ichi no kamae. Rotate the sword again (left foot forward).
Left step back to Left Hasso. Right step back, and left Kesa Kiri (one movement). Hold
the sword horizontal on the right with the tip forwards, and the wrists crossed. Hold this
by the ear with the edge up. Right step forward, and Tsuki turning the sword over as you
do the Tsuki.
NOTE: When rotating the swords Tori finishes each part by almost throwing
Ukes sword to the side. The final part is to knock his sword down.

HENKA
TOGAKURE RYU BIKENJUTSU

Uke is in Dai Jodan no kamae, cuts straight down. Tori is in Chudan no kamae, step
forward with left, block towards right, engaging blades circle clockwise once then snap
down as you step with right, sweep blade to left by twisting body (feet as well), assume
Chudan no kamae. Repeat twice.

HENKA
Uke is in Chudan no kamae, straight thrust to heart. Tori is in Chudan no kamae, shift left
foot slightly forward then step 45 degrees back right as you circle blade anti-clockwise to
beat down onto opponent's blade (with side) to disarm, step forward with right thrust to
throat to finish.

3. MUSO KEN NO KAMAE (URA NAMI) - No thought sword Posture - Inside wave
Tori is in Gedan no Kamae. Tori lowers his weight and shifts his weight forward over the
right knee as he lifts the boshi of his sword to face height and thrusts towards Ukes men.
Tori then steps forward with his left leg, dropping to his right knee to cut from left to
right with do-giri. Tori can step forward with the left leg when doing the thrust, which
incidentally can be used to lift Ukes kabuto with hane-age. Tori should then step forward
with his right leg, dropping to his left knee to cut do-giri (one handed with the left hand
supporting the spine of the blade).

Application:
Gedan no kamae. Drop the body weight and lift the hands until they are level with the
face (similar to Daijodan). Left foot forward, drop to the right knee, and drop the sword
over to the left side, and Do Giri from left to right
NOTE: When Tori lifts the sword it comes up under the inside of Ukes wrists,
under the helmet, cutting his face. When Tori drops to his knees he cuts across the
waist. To help, place the left hand on the back of the sword blade.

HENKA
Uke is in Dai Jodan no kamae, weight shift forward, hesitate. Tori is in Gedan no kamae,
weight shift forward. Uke begins to cut. Tori on the intention to cut, snap blade up
between opponent's arms to in front of face then above forehead, step to right moving
into half-kneel on left knee (right knee to side), bring blade across midsection, release
left hand, place on back of blade and weight shift forward as you cut and move into a
standing position.

4. DATO NO KEN - Striking and felling sword


Tori is in Gedan no Kamae. Tori moves to his left, 90 degrees with his left leg as he
raises his sword to block/intercept Ukes jodan-giri (Toris sword is horizontal with the
boshi to his right). Tori then steps directly forward with his left leg to cut from left to
right with do-giri.

Notes: Toris block/intercept should place his blade just underneath Ukes tsuba,
therefore controlling Ukes sword. Tori can then take a short step forward with his right
TOGAKURE RYU BIKENJUTSU

leg while he uses his right elbow to lift and control Ukes left elbow. Finally, Tori turns
his body to the right and slams his sword into Ukes hara (onehanded) using his body and
left forearm pushing the back of the blade. After the intercept, Tori can use his left elbow
to lift and control Ukes right elbow. Then, letting go of the tsuka with his left hand, uses
the tsuka kashira to strike Ukes right omote kimon. Finally Tori rotates the sword
clockwise above his head to cut do-giri from left to right across Ukes right side as Tori
moves back with his right leg.

Application:
Gedan no kamae. Left step out, lifting the sword high to do a high block, and Kiai (hilt to
left). Left foot forward, and cut horizontally to the neck from left to right and Kiai.
NOTE: To lift the sword, Tori also steps forward with the left foot, and meets
Ukes sword. Tori strikes Ukes wrists from underneath with the Tsuba. Keep the
arms straight for the cut. If you are too close and need extra power, push the back
of the blade with the left forearm (hand on Tsuba).

HENKA
Uke is in Daijodan no kamae, cuts straight down. Tori is in Gedan no kamae, step
forward with left jamming opponent's hands with Tsuba (sword tip to right), step forward
with right, pressure opponent's arms up with elbows (mainly right), snap blade down into
midsection, place left elbow/forearm to back of blade, left hand on Tsuba, weight shift
forward and cut.

HENKA
After the block, shuffle forward placing left leg behind opponent's right, pressure right
arm up using left elbow wedging under armpit, release left hand, strike to solar plexus
with butt, circle blade around to cut midsection, cut left to right supporting blade with
left hand as you step back.

5. ISSEN NO KEN - One flash sword


Tori is in Chudan no Kamae. Tori shifts his weight forward onto the right leg and does
tsuki, he then drops his boshi to his left. Tori then steps out to his left 90 degrees with his
left leg and strikes down to the right, in a clockwise arc (onto Ukes sword). Toris tsuki
is blocked/deflected by Uke, Tori then moves in the direction that his sword has been
knocked and uses the movement to knock Ukes sword out of his hands. Tori can then
finish Uke with any attack.

Application:
Chudan no kamae. right step forward, and Tsuki (short movement). Drop the Kissaki to
the left, so that the tip points at the ground (the wrists are crossed). Left step forward, and
out. Bring the sword to Daijodan, and Jodan Kiri.
NOTE: If Uke is in Seigan no kamae, and does a Tsuki, Tori can connect with the
sword, then knock it away. Possibly out of Ukes hands. The Daijodan comes as
high as the shoulder - The drop over of the sword is to knock Ukes sword Can
also Tsuki instead of Jodan Kiri.
TOGAKURE RYU BIKENJUTSU

HENKA
Uke is in Seigan no kamae. Tori is in Tosui no kamae, step forward with right deflecting
opponent's blade to left, bring blade sharply counter clockwise to beat down on
opponent's blade (with flat) disarming, weight shift forward to thrust to throat.

HENKA
Start in Seigan no kamae, shuffle forward with left then right as you deflect opponent's
blade, circle clockwise and beat down on blade.
NOTE: Your first Tsuki is a dummy because his sword is longer than yours and he
will hit you before your Tsuki reaches him. If he blocks your sword do not hold
your rigidly. But beware as his Kissaki will be pointing at you.

6. RAIKO NO KEN - Thunder light sword


Tori is in Hasso no Kamae. Left leg moves back and cut kesa-giri from right to left. Left
leg steps forward and cuts do-giri from left to right. Left leg steps back and cut jodan-
giri. Left leg steps forward and cut kesa-giri from left to right. Switch step, cut kesa-giri
from right to left. Left leg steps forward to cut gyaku kesa-giri. Use this series of cuts
against a line of attackers - advancing forward with each cut. Do this from a
posture/attitude of shin-shin, shin-gan (gods heart, gods eyes), and from this will come
the naturalness which is the true secret of Happo Biken (eight direction secret sword).

Application:
Hasso no kamae. Left step back, and Kesa Giri. Left step forward Do Giri. Daijodan with
a left step back, Jodan Kiri (one movement). Left step forward, to a over the head Kesa
Giri (L-R). Lift the sword up hilt to the right, tip to the left. Rotate the sword over the
head, and Kesa Giri (right - left). Switch step and Gyaku Kesa Giri (left - right), and step
forward as you cut. Hasso.
NOTE: You start in an upright Hasso no Kamae, then the hips are kept low. Do
not bob up and down as you perform the Kata. Each cut should be straight and
true.

HENKA
Multiple attackers. Tori performs the above kata against multiple attackers. One per cut.

KUDEN: This technique is for moving through a crowd. The cuts you make leave
you open, so your next cut must go to this new open space, as that is were the
next attack will come form.

7. ITTO NAGE One sword throw


Tori is in Shizentai with the Katana in the obi. Tori draws the katana horizontally and
throws it with the right foot forwards. The left arm hangs limply straight down, between
the legs. When nothing else can be done, and you have to throw your sword, throw it this
way, just like throwing Shuriken.
TOGAKURE RYU BIKENJUTSU

8. ITTO GIRI - One sword cut


Uke is in Daijodan, and cuts with Jodan Kiri. Tori is in Seigan. Tori shifts to the left, and
drops to the left knee, and cuts from the right to the left with Do Kiri.

HENKA
Uke is in Daijodan, and does Jodan Kiri. Tori is in either Hasso, or Seigan. Tori steps
forward to the left, and walks cut Uke with Do Kiri. As Tori passes Uke he turns to the
right to face him, and cuts across the spine left - right.

HENKA (Sojutsu - Kenjutsu)


Tori is in Seigan. Uke is in Ihen with a Yari. Uke does a Tsuki. Tori steps forward to the
left and cuts to the top of Ukes hand on the left side, and pushes the katana forwards to
cut the other hand. Tori the cuts to the right side of the neck. Tori then does a right kick to
the chest to knock him back.
NOTE: If the Yari blade comes close as you kick him back away for safety.

9. KIRI KAESHI Cutting return


Tori has a Katana in Chudan no kamae. There are three basic ways of doing this form.
Uke 1 steps forward with Chudan Tsuki. Tori steps forward to the left, and cuts with
Do Kiri.
Uke 2 steps forward with Yokomen Kiri. Tori advances and cuts with Do Kiri, and
turns to face Uke 3.
Uke 3 cuts with Jodan Kiri. Tori advances very fast, and cuts again with Do Kiri.
NOTE: All Kiri are from left to right.

10. SUTEMI - Sacrifice


You are surrounded by a group of swordsmen. Make them believe that you are going to
attack the strongest point of their attack and then quickly escape through their weakest
point.

11. METSUBUSHI To crush the eyes.


1. Two attackers, one in front in Daijodan, the other behind in Seigan. The one at the
front attacks with Jodan Kiri, while the one behind moves to Daijodan. Tori with
the left foot forwards with the saya in the left hand, and the sword drawn in the
right hand held high (similar to Daijodan). As the first attacker cuts down, step
forwards with the right foot bringing the sword across to block his sword and
hold them together. Turn to the rear to release the Metsubushi to the rear from the
Saya. Turn to the front again releasing the Metsubushi to the front while stepping
back with the right foot. Step forwards with the right foot cutting with Yoko Giri
to his midsection.
TOGAKURE RYU BIKENJUTSU

2. Uke does a Batto no kamae, and draw to Daijodan and Jodan kiri.. Tori does a
Batto no kamae with the saya in the left hand. Step forwards with the right foot,
drawing the sword with the right hand, and use it to block Ukes Jodan Kiri.
Throw the Metsubushi at his eyes and then do a Katate Do Kiri. Noto.
Note: You can get three or four lots of Metsubishi from one saya.

12. KAGE NO ITTO - Single sword shadow


Use this form of draw when you are close to a wall and you wish to draw the sword so
that you do not expose your position. With this draw you will be able to remain in the
shadows. This reverse draw starts on the left side and is moved to the right across the
back. A great deal of flexibility is required in the wrists for the sword to be turned, and
lifted in a single movement, and then drawn over the right shoulder with the right hand.
This technique is best transmitted Orally.
1.Batto no kamae
2.Step to the left with the left foot and push the sword handle to the left with the
left hand.
3.Push the sword to the right with the left hand across the back, so the handle
points out to the right (the sword is till cutting-edge up at this point). The right
hand rests on the top of the Tsuka so that the palm faces rear. Slide your hand
around the Tsuka until your palm is underneath, and then take hold. Keeping
constant contact with the Tsuka, turn the hand and the Tsuka so that the cutting-
edge now faces downwards. Lift the Tsuka up to behind your right shoulder so
you are able to draw the sword over the shoulder. The left hand remains on the
saya throughout and returns the saya to the left hip once the blade is free from the
saya.
NOTE: This is also known as 'Ninja Shinden Iai-giri'. It is used when
there is an obstacle or person in the way. In the eye and mind controlling
method called Sanzu no metsubushi, the Kage no Nitto (double shadow
sword) thus protects the invasion of evil.

13. SHINOBI IAI (Shinobi Iai Happo Sabaki Gata) Ninja draw
The sword drawing techniques require free movement of the feet. This is the eight ways
of footwork for drawing the sword.
Start in Shizen Tai.
1. Move your left foot to the right in Yoko Aruki in front of the right foot.
2. Move your right foot to the left in Yoko Aruki in front of the left foot.
3. Move your left foot diagonally to the rear left.
4. Move your right foot diagonally to the rear right.
5. Move forward with the right foot.
6. Move straight backwards with the left foot.
7. Move diagonally forwards to the right.
8. Move diagonally forwards to the left.
TOGAKURE RYU BIKENJUTSU

14. TE NO UCHI (Hand strike)


Uke is in Gedan no kamae, and Tsuki. Tori is in Daijodan no kamae, hold Metsubushi in
the right hand. As Uke does his Tsuki, throw the Metsubushi into his face then do a
Katate Yoko Giri to the neck as you walk forwards. Noto.

15. SAGEO GATA Sono ichi Saya cord forms No1


Tie the end of the Sageo to the Obi. You have two Uke. One to the front, one to the rear.
Pull the Saya from the Obi, throw it to the rear to strike the Uke in the body, immediately
attack the Uke at the front cutting him down.. Then you must quickly turn to the rear and
cut that Uke down. Pull the Sageo to retrieve your Saya and push it back into your Obi.

16. SAGEO GATA Sono ni Saya cord forms No2


The Togakure Ryu sword has a small metal weight attached to the end of the sageo. Pull
the Saya from the Obi with the left hand. Hold it in the left hand at the Kojiri or the
middle of the saya. Flick the saya so that the weighted sageo flicks out at the Uke, then
cut him down
Notes: When the Saya is loaded with metsubishi it will last for three flicks at
least, then the weight will come into action. Keep flicking as much as you need to
to keep the Uke at bay. Hitting him with the weight will injure him.

Sageo Nanajutsu Seven saya forms


1. As a substitute for a ninja's belt, if the ninja's belt was cut by his enemy, or when
the ninja sleeping in his bed with his shinobigatana close at hand couldn't find his
belt easily in the dark.
2. It was used as a signal of warning when the ninja slept in inns while travelling.
While sleeping, he fastened the end of the sageo to his hand or concealed his long
and short swords with sageo under his bed. This was to awaken him if someone
tried to steal his swords.
3. It was used as a device for climbing over a wall. with the sword leaning against
the wall, the sageo between his teeth (or tied around his ankle), the ninja climbed
up the wall using the tsuba as a booster step. in accomplishing his climbing, he
pulled up the sword by the sageo.
4. It was used when the goton no jutsu was applied.
5. It was used to tie an enemy and secure ninja tools as well
6. It was used when the ninja tried to snatch a long weapon such as a spear from his
enemy by twining the sageo around it (karame dori)
7. It was used as a weapon for metsubishi

17. TAI WARI ITTO (Itto Ryu Dan sword mortar shell)
1.This is were the Saya is filled with Metsubishi, and sprayed in the face of an opponent.
Uke is in Daijodan and cuts with Tenchi Giri. Hold the Saya by the Kojiri, hold the Saya
across the front of the body (this is Hidari Hanmi no kamae). With the sword held above
the head (Kocho no kamae), and spray the metsubishi from right to left in an arc. Then
TOGAKURE RYU BIKENJUTSU

move in and cut across the neck, or Tsuki. If you run out of powder, use your sageo.
(This is Sageo Gata)