虎倒流骨法術

Kotō Ryū
Koppōjutsu

The lineage of Koto Ryu:

Koppojutsu originated in ancient China. It was brought to
Japan by the monk Chan Busho of Korea approximately 23
generations before it was reorganized by Sakagami Taro
Kunishige in 1542. Sometime between 1542 and 1555,
Koto Ryu was passed from Toda Sakyo Ishinsai to
Momochi Sandayu.

Sakagami Taro Kunishige

Bando Kotaro Minamoto Masahide (killed in battle in
1542)
Sougyoku Kan Ritsushi (Soke of Gyokko Ryu Koshijutsu)
Toda Sakyo Ishinsai
Momochi Sandayu (circa 1542-1555)
Momochi Sandayu (circa 1570-1592)
Momochi Tanba Yasumitsu (Lord of Ryukojo, 1596-1615)
Momochi Taro Saemon (1615-1624)
Toda Seiryu Nobutsuna (1624-1644)
Toda Fudo Nobuchika (1658-1661)
Toda Kangoro Nobuyasu (1681)
Toda Eisaburo Nobumasa (1704)
Toda Shingoro Masayoshi (1711)
Toda Daigoro Masayoshi (1736)
Toda Daisaburo Chikashige (1804)
Toda Shinryuken Masamitsu (b.1824 - d.1908)
Takamatsu Toshitsugu (b.1887 - d.1972)
Hatsumi Masaaki (b. 1931 - )

Koto Ryu Koppojutsu

(Knocking Down Tiger School)
History of Koto Ryu

The exact origin of KOTO RYU is unknown, but it was probably

brought to Japan from what to day is Korea by a person named
CHAN BUSHO. There are no sources on when this happened exactly,
but there went several generations before the system was
organized by SAKAGAMI TARO KUNISHIGE. It was took two more
generations until TODA SAKYO ISHINSAI formally formed KOTO RYU
KOPPOJUTSU as a RYU.
SAKAGAMI TARO KUNISHIGE was considered as the first SOKE in
KOTO RYU, but BANDO KOTARO MINAMOTO MASAHIDE, The one
that was to be the 2nd SOKE died in battle 1542.
Instead the RYU went to SOUGYOKU KAN RITSUSHI who also was the
SOKE of GYOKKO RYU. There after the KOTO RYU was following the
same family line as GYOKKO RYU, today the SOKE of both RYU are
MASAAKI HATSUMI and can be found in the BUJINKAN BUDO
TAIJUTSU system. The difference attributed to GYOKKO RYU was that
KOTO RYU was only taught to the person that would become the
next SOKE.

The name KOTO RYU means "knocking down tiger", to knock down a
tiger with the fingers, the techniques are quite brutal in its methods.
KOPPOJUTSU means to destroy the bone structure of the attacker,
Koppo also means knack or skill and does not necessarily mean
Bone Breaking . What specializes the KOTO RYU techniques is that
distance is created by moving along with the attack, then moving
forward with a strike and then move quickly out to a safe distance
again. This is done to come in with a strike at exactly 90 degrees
against the bone structure of the attacker to do most damage. To do
this demands good timing and rhythm in the defensive attack, often
done with YOKO ARUKI
Another thing that is a specialty is the YOKO ARUKI (moving with the
legs crossing each other). Another important part of the footwork is
to hit the attackers TOKI (the top of the foot), by kicking or stepping
on it to control his balance. You must learn to do this unconsciously.

It should also be noted that the starting distance should be really

big from the start, the attacker must take one big step or several
steps to reach the defender. This states clearly that KOTO RYU was
developed for the battlefield or out doors in general, and not inside
a house or narrowed places.

THE EYES
The KOTO RYU stylist should be looking right between the attackers
eyebrows, so that the attacker cannot read the intentions through
his eyes. The attacker will also believe that he has eye contact,
which will be confusing for him in an unusual way.

Other typical methods of KOTO RYU is the use of METSUBUSHI,

different ways of blinding the attacker or attacking the eyes directly.
METSUBUSHI could be powder thrown at the attackers eyes, but
also reflections at the eyes from the sword or other metal blades.
For example when it rains the KOTO RYU stylist would stand in
MANGETSU NO KAMAE (similar to HOKO NO KAMAE with the blade in
the left hand) and collect water in the HI (groove)of the blade and
then throw the water at the enemy’s eyes before the sword slashes
down.

Because of the hard character of the KOTO RYU techniques it

demands hard discipline training to harden the body. TAKAMATSU
TOSHITSUGU (the former SOKE) started his training in KOTO RYU
when he was nine years old, and was considered a KOTO RYU
master when he was 13 years old. In his autobiography he has
written that he got hard fingers and toes by hitting stone and gravel
until the blood came through the fingernails and toenails.

SHAKO KEN (claw hand) is one of the strikes that are used in KOTO
RYU. There are story's about TAKAMATSU in the 1960's when he
convinced KOIZUME SHIZUO, a journalist from the TOKYO Sport
Newspaper, by literally drilling five holes through the bark of a tree
with his SHAKO KEN finger
strike.

KOTO RYU also has an unusual way of using the Japanese sword.
KOTO RYU is one of the very few RYU that sometime changed the
grip of the sword by holding it with the left hand near the TSUKA,
and switching the placement of the feet. This gives multiple ways of
holding the sword with crossed arms that would totally confuse the
attacker, and sometimes convince him that the KOTO RYU stylist
was an amateur and an easy opponent.

Technically GYOKKO RYU complements KOTO RYU perfectly and

together make a good fighting system. But you should also be
aware that both RYU have its own methods and techniques of
moving, but together they practically cover all kinds of variations.

If we go back to the history we can see that there have been several
famous NINJA that have studied both KOTO RYU and GYOKKO RYU.
One of the most known NINJA was SANDAYU MOMOCHI who was one
of the leading persons in the RYUGU SANBONMATSU village, and
one of the defenders against the ODA NOBUNAGA invasion in 1582.
He was the SOKE for both KOTO RYU and GYOKKO RYU.

One of SANDAYU MOMOCHI's students was ISHIKAWA GOEMON who

came to be known and infamous as the Japanese kind of Robin
Hood. He also tried to assassinate HIDEYOSHI TOYOTOMI, but he
was captured and boiled in oil. Some sources says that he managed
to escape but the Shogunate never dared to reveal that, but that
must be considered as relatively unbelievable.

The Structure of Koto Ryu

The basic movements include large exaggerated blocking
movements, like the Ichimonji in the Kihon Happo. Characteristics
about Koto Ryu Koppojutsu is the Yoko Aruki (cross stepping
movements), stomping on Toki (the foot). The eyes are looking right
between the eyebrows on the opponent, this way the feelings and
intention will not be easily detected by the opponent, "The eyes are
everything" is a saying from the scrolls. The postures with the
sword (weapons?) is quite unique, often leading with the left foot,
and the left hand closest the Tsuba.

Kurai Tori Kamae (5 basic Kamae)

Shoden no Kata (18 basic techniques)
Chuden no Kata (12 basic techniques)
Okuden no Kata (12 basic techniques)
Hekito no Kata (8 basic techniques) Unarmed
techniques
against the sword.

Kyusho of Koto Ryu

The following is a listing of the Kyusho or pressure points we
use in Bujinkan Budo Taijutsu. Many of these points can be found
along the meridians used in Shiatsu and acupuncture. The locations
described
below are approximate; their exact location will depend upon a
person's body structure.

1. Ura Kimon (Outside Devil Opening) - Ribs under pectoral

muscle.
2. Ryu Fu (Willow Wind) - Above & below Adams apple.
3. Kasumi (Fog, Mist) - Temple.
4. Hiryuran (Flying Dragon Confuser) - Eyes.
5. Shishiran (Tiger Confuser) - Stomach.
6. Kosei (Power Of The Tiger) - Groin.
7. Yugasumi (Evening Mist) - Soft spot below the ear.
8. Tsuyugasumi (Drop Of Mist) - Under the jawline.
9. Ryumon (Dragon Gate) - Under collarbone near shoulder.
10. Jujiro (Intersection) - Front of the shoulder.
11. Jakkin (Weak Muscle) - Upper arm between bone & muscle.
12. Daimon (Big Gate) - Middle of shoulder joint.
13. Asagiri (Morning Mist) - Bottom of the chin.
14. Sei (Star) - Directly under the armpit.
15. Kinketsu (Tabu Hole) - Sternum.
16. Koshitsubo (Hip Pot) - Inside ridge of the hipbone.
17. Hichibatsu (Voice) - Side of the hip.
18. Tenmon (Heavens Gate) - Ridge of the eye socket.
19. Uko (Door Of Rain) - Side of the neck.
20. Jinchu (Center Of The Human) - Base of the nose.
21. Happa (Eight Leaves) - Clapping the ears.
22. Menbu (Face) - Bridge of the nose.
23. Tokotsu (Independent Bone) - Adams apple.
24. Gorin (Five Rings) - Around the stomach.
25. Sai (Leg) - Inside & Outside of upper leg.
26. Matsu Kaze (Pinetree Wind) - Just above and below the end of
the clavicles.

27. Mura Same (Village Rain) - Notch between the clavicles.

28. Hoshizawa (Cliff Of Stars) - Elbow joint.
29. In (Shadow) - Inside the swell of cheekbone.
30. Ten To (Top Of The Head) - Soft spot on top of the head.
31. Shin Chu (Center Of The Heart) - Middle of the chest.
32. Wakitsubo (Side Of The Body) - Ribs under the armpit.
33. Yubitsubo (Finger Pot) - Base of the thumb.
34. Butsumetsu (The Day Buddha Died) - Ribs under the chest
muscles on the front and back.

35. Kyokei (Strong Tendons) - Top of the foot just above toes.

Sanpo Gassho
 There are three forms of Kuji (Mikkyo Esoteric hand signs) that
are called Sanpo Gassho (three treasures) in the Koto Ryu Gassho
Kuji Kiri (Nine symbol slashes prayers).

1. Kongo Gassho Cloud Prayer

2.Suirin Gassho Water Ring Prayer
3.Kaku Gassho Fire and Winds Prayer

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. A weakness could also be vanity or one of the
other (western deadly sins) that could be used against the enemy,
other examples include a false sense of security complacency or
relying on others. There are many examples. (TR)

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.

What type of monk was Chan Busho? The traditions are not
clear. However, his name does have some interesting linguistic
relationships. In Chinese, Chan means Name of Wind. That is, the
name and mind being substance. The more popular claim that Chan
translates into Japanese as Zen is actually a misinterpretation.
However, like many such mis-translations, once it gains a certain
amount of popular acceptance, there is little one can do except
point out the original error and accept the fact that most people will
not want to be confused by the facts. The name Busho is very close
to the Japanese word Busho, which means Buddhist scripture. Thus
there is a fair case that Chan Busho (or who ever took Koppojutsu to
Japan) was a Buddhist.

Given the nature of Koto Ryu techniques and taking into

account some of the current Chinese martial arts, a fair case for
some connection between the two could be made. An example of
the Buddhist teachings can be seen from the following quote taken
from the writings of Takamatsu Toshisugu:
 ‘No one possesses the knowledge concerning the events of
tomorrow. This means that we do not know when our life will cease.
However, you should never be surprised by any kind of happening.
Whether a change in the cosmic process occurs, a cutting action is
attempted by an opponent or natural catastrophes take place, you
should never feel such a thing as surprise. This is the spirit of
Banpen Fugyo.’

While these teachings may at first sound somewhat simple,

they can take years to realize in actual living. The history of Koto
Ryu has it that the techniques were passed down from Busho
through several generations until the teachings reached Sakagami
Taro Kunishige in the mid-l500’s. From here, the Ryu was passed
down to the famed ninja leader Momochi Sandayu. The Ryu stayed
in the Momochi family for a number of generations until it passed to
the Toda family. Toda Seiryu Nobutsuna was the first Toda family
grandmaster of Koto Ryu and he headed the system from 1624 A.D.
to 1644 A.D. From the Toda family, the system passed down to
Takamatsu Toshisugu and into the modern world. The teachings of
Koto Ryu are organized on the usual ancient Japanese system of
Shoden, Chuden, Okuden and Hiden. Although there is some
relationship between each level of the techniques, each group has
its own important points.

An interesting aspect of Koto Ryu is that the techniques would

work against a man dressed in modern clothing or armor of the type
worn in ancient Japan. This reflects the fact that although the
ancient ninja are often associated with the practice of espionage, a
number of them saw action on battlefields of old Japan. Another
interesting aspect of Koto Ryu is that the concepts and techniques
greatly compliment the ideas and techniques contained within
Gyokko ryu.

The Kihon Waza of Koto Ryu contain such basic techniques as

rolling, hitting, jumping, and proper body conditioning. This last,
that each Ryu has its own conditioning associated with it, is often
overlooked.

The Shoden Gata is contained in 18 methods. These methods

deal with a variety of attacks and show the proper use of such
striking techniques as kicks, head butts and different strikes with
the hands. While on first examination, these techniques look fairly
simple and straight forward, they are not, because of the number of
situations under which they can be used. It should be noted that the
Koto Ryu has its own system of attacking the various weak points of
the body and the study of how to match the proper body weapon to
the point of what is being attacked is a rather wide area of study.
 According to the book Dai Nippon Bugei Ryu Ha, the following
provides an outline of the history of the Koto Ryu. The names listed
are those of the grandmasters of the system. There were, of
course, a number of famous ninja and samurai trained in the
techniques of the Koto Ryu. For example, the famous ninja Ishikawa
Goemon learned ninpo from his master, Momochi Sandayu. Goemon
is best remembered for his role as Japan’s ‘Robin Hood’. Goemon
also attempted to kill the famed leader Hideyoshi, but without
success. According to popular legend, Goemon was eventually
executed for his activities (a common fate for many at that time)
but other Kuden states that he escaped this fate.

As mentioned earlier, the exact origin of Koppojutsu is lost

somewhere in the mist of ancient history. The techniques of the
Ryu were reorganized by Sakagami Taro in 1542 A.D. The man who
was to become second headmaster of the Ryu, Bando Kotaro
Minamoto Masahide was killed in battle later in that same year. This
event resulted in the ryu being passed to Sougyoku Kan Ritsushi.
While it is true that the techniques that were to become Koto Ryu
were brought to Japan from China, there is ample evidence that the
teachings and techniques that were named ‘Koto Ryu’ at a much
later date actually originated in ancient India where it was called
‘karanai’. At that time, these techniques (actually what today is
called Koppojutsu 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
Koppojutsu 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.

Each ryu has to train according to the Ten, Chi, Jin structure
that has been passed down from ancient times. The alert reader
will have noticed that I used the Chinese expression of Ten, Chi, Jin
rather than one of the structures normally associated with the
gradings or groupings associated with Japanese martial arts. There
is of course a very good reason for this.

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 Kata
(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.
1. 初伝型 Shoden No Kata Juhachi
Gata
1. 抑倒 Yokutō
2. 押虐 Ō Gyaku
3. 抗抑 Kōyoku
4. 枝倒 Shitō
5. 捕捉 Hosoku
6. 放擲 Hōteki (aka yo packy)
7. 斜倒 Shatō
8. 掛倒 Ketō
9. 搾撃 Saku Geki
10. 抜技 Batsugi
11. 擔撃 Tan Geki
12. 折倒 Settō
13. 指拍 Shihaku
14. 拒技 Kyogi
15. 括拷 Kakkō
16. 浦波 Ura Nami
17. 天地 Ten Chi
18. 片巻 Kata Maki
Kurai Dori: The 5 kamae of Koto ryu are Right Seigan no
Kamae, Left Seigan no Kamae, Hira Ichimonji no Kamae, Bobi
no Kamae, and Hoko no Kamae.

Yokuto 抑倒
Uke grabs left lapel, right sleeve. Tori right shitoken to neck and
kick to groin. Bring right leg back and drive a left shakoken or
happaken to jaw/face.

Ogyaku
Uke judo style throw. Tori leans back, lowers hips, shitoken in
kidney. Shift in with a right shitoken to butsumetsu, drive uke to
the ground.

Koyoku
Uke right jodan tsuki. Tori right seigan no kamae, left strike to jakin,
right fudoken to butsumetsu, left arm under uke's right hoshi, turn
into harai goshi or ganseki otoshi.
Shuto
Uke double lapel grab, tori ryo kasumi strike koppoken. Usumaki
using taijutsu.

Hosoku
Uke left lapel grab, right jodan tsuki. Tori right seigan no kamae,
left strike to jakin. Tori left shitoken to right koe, kikakuken to face.

Hoteki
Uke left lapel grab, right jodan tsuki. Tori right seigan no kamae,
left ura kitenken to jakin, then slide right hand to hoshi and apply
koshijutsu to hiji. Left hand to uke's left hand. Seoinage.

Setto
Uke right lapel grab. Tori twist and right kitenken or shikanken to
right jakin. Tori left boshiken or shikanken to butsumetsu with a
twist and push down.

Keto
Uke ryote(both hands) grab to mune (lapel), tori shikanken to both
hands while sinking down. Sokuyakuken kick to gorin.

Saku Geki
Uke attempts to double grab to lapel, but before he reaches tori, tori
steps forward right, right koppoken to asagasumi (chin), then
swinging sokuyakuken to sai (inner knee).

Batsugi
Uke right grab to mune, tori covers hand. Tori right shakoken to
men (face), left omote gyakudori, and shukiken to jakin, stepping
back down to left knee.

Gan Gaki
Uke right and left jodan strike. Tori hoko no kamae, parries both
strikes with fudoken to hoshi, while stepping back, then spring
forward with ryote shakoken to men, then sokuyakuken to suigetsu.

Shato
Uke left grab to mune, right jodan strike. Tori steps back right,
fudoken to hoshi, kasumi strike with left koppoken. Tori right kick to
groin with shin.

Shihaku
Uke right and left jodan strike. Tori seigan no kamae. Fudoken to
both jakin, then lift left kick as a fake to the groin. As tori sets his
foot down, right fudoken to suigetsu.

Kyogi
Uke left ichimonji no kamae, right jodan tsuki. Tori seigan no
kamae, jodan strike. Uke left jodan tsuki, tori jodan strike without
changing feet but taking a tangent step left. Shift weight forward
and stomp attacker's front foot (on the arch) with your right foot.
Right fudoken to butsumetsu and step left.

Kako
Uke left ichimonji no kamae, right jodan tsuki, tori reverse block.
Uke left jodan tsuki, tori right reverse type block. Bring your rear
leg up and forward with a sokuyaku ken to uke's koe, turning your
toes out. At the same time, strike with right sanshitanken to
murasume and drive down.

Ura Nami
Uke right and left jodan tsuki. Tori does two reverse blocks,
stepping back only on the first block. Tori right kick to uke's right
yaku, ryo boshiken to neck to drive him down.
Ten Chi
Uke right and left jodan tsuki. Tori two reverse blocks, stepping
back. Tori right kakushi kick to groin as a fake, and right (or ryo)
shakoken to ganmen, quick and direct.

Kata Maki
Uke right jodan tsuki. Tori uke nagashi. Uke left jodan tsuki, tori
reverse block (slide right leg back and uke nagashi with right arm),
this time at a 90 degree angle. Slide in with mushadori, lean back,
left boshiken, stepping with the body into it, driving uke to the
ground.

2.Chuden No Kata
1. Hida
2. Hisaku
3. Hicho
4. Hito
5. Kappi
6. Nonpi
7. Suito
8. Gohi
9. Hehi
10. Teki Gaeshi
11. Koto
12. Kakuhi

Note: techniques of the Koto Ryu Chuden no Kata are

done with two training partners walking toward each
other.

Hida
Tori right omoteshuto to kasumi, same side kick to groin with
shinbone.

Hisaku
Tori right shitoken to neck, ryote shakoken to grab shoulders, tobi
and do jime. Drop back and pull behind ankles to take down. Shime
to right leg and right kick with heel to groin.

Hicho
Right shako-ken to men, right sokuyaku-ken to gorin.

Hito
Bosh ken to omote kimon, tobi ni keri to gorin, drop and koho
kaiten.

Kappi
Tori step in right and right ura-shuto to neck, switch and step left,
left ura-shuto to neck, koho tobi.

Monpi
Step in right, right shako ken (skin & muscle grab) to wakitsubo,
right sokuyaku-ken to groin.

Suito
Uke right jodan tsuki, tori jodan strike, uke left jodan tsuki, tori jodan
strike. Uke headlock, tori hammer fudoken to ura kimon, fudoken to
asagasumi, peel arm off, apply musodori, twist arm and turn
towards him, ura gyaku, gari otoshi throw, then sokuyakuken to
butsumetsu.

Gohi
As uke approaches, sanshitan-ken to murasame, then otoshi.

Hehi
Right sanshitan ken to murasame, then left shako ken to men as
you cross step. Right tobi.

Teki Gaeshi
Right boshiken to jujiro, right omote sokuyaku ken to leg.

Koto
Right sanshitan ken to murasame, right kick to groin.

Kakuhi
As uke walks forward, he reaches for lapel. Tori right fudoken to
asagasumi (chin) upward, then right sokuyaku ken to koe (or groin).
3. Okuden No Kata
1. Santo
2. Santo
3. Koto
4. Shisen
5. Kompi
6. Sho Setsu
7. So Setsu
8. Soto
9. Ko no Ki
10. Kimon
11. Ran Setsu
12. Ura Kimon

Santo
Uke right strike mata, go with the technique by bending, strike
hammer fudoken to kaku, then other hand strike fudoken to jakin.
Leap back in seigan no kamae.
Santo
Uke right chudan tsuki with shuto at tori, who is in left seigan no
kamae. Drop back left to the right knee, left hand catches the wrist.
Come up off the knee and right shikan ken to the wrist. Uke drops
shuto, right hand grabs to ura gyaku. Turn wrist and step back with
the right foot. Uke steps left forward. Kick left heel into left inner
knee and otoshi.

Koto
Uke right shoto jodan tsuki. Left seigan no Kamae. Drop down to
the right knee as in Moguri Gata. Left fudoken to uke’s right jakin,
rise up and deliver happa ken to face, and then a right kakushi to
groin.

Shisen
Ryote jime by uke, happa ken to yo. Step right, kikaku ken to
jinshu.

Kompi
Uke walks toward tori, step left onto his right foot. Strike left ura
kiten ken to his neck, and then koho tobi.

Sho Setsu
Uke walks toward tori, step right and fudoken to shinchu, step left
in a circle and right kick to gorin, sokuyaku ken.

So Setsu
Uke walks toward tori, step in and ryote shako ken to the sides of
the body, step back left or right and sink on rear knee, blocking
uke’s leg with other knee. Take uke to the ground.

Soto
Uke walks toward tori, ryote boshiken to ryumon, push down, kikaku
ken to ganmen, step between uke’s legs with one leg, using the
other to sokuyaku ken keri to gorin, going into tomoe nage and
rolling over with him.

Ko no Ki
Uke walks toward tori, tori happo to hachi yo, tobi ni keri to gorin.

Kimon
Uke walks toward tori, tori steps right, right hand shako ken to
wakitsubo, left hand grabs right elbow. Step back around with the
left leg to the right and drop down to the left knee, throwing uke to
his back.

Ran Setsu
Uke walks toward tori, step right, ryote shako ken to the sides of the
body. Step between his feet with both legs, drop down attempting
to strike his head into the ground, and attacking suzu with the
elbow.

Ura Kimon
Uke walks toward tori, right goshitan ken to omote kimon, right
sokuyaku ken to koe.

4. Hekuto No Kata
1. Soku Boku
2. Boku Hen
 3. Damara
4. Setto
5. Kibo
6. Batsu Yo
7. Kuahi
8. Sako Ryoku

Soku Boku
Uke jodan kiri, tori hidari ichimonji. Step left with the left foot, and
with the left foot keri to uke’s right arm. As the left foot lands,
ganmendori with shakoken.

Boku Hen
Uke left chudan no kamae, yoko giri (left to right), tori avoids kiri
with hira koho. Uke raises katana into jodan no kamae and shomen
giri. Moguri gata, controlling arms, and sokuyaku ken to gorin.

Damara
Uke left chudan no kamae. Steps in with right foot and tsuki. Tori
hoko no kamae, yoko aruki to left, catching uke’s right hand with
the left. Right shikanken to the back of uke’s hand, and omote
gyaku, dropping to left knee.

Shuto
Uke jodan kiri, tori bobi no kamae. Avoid 45 degrees forward inside
kiri, right kitenken to nagare and then ura kitenken to jinchu.

Kibo
Uke jodan kiri, tori bobi no kamae. Avoid 45 degrees forward
outside kiri, right or left fudoken to tricep, then keri to butsumetsu.

Batsu Yo
Uke right jodan no kamae, step left and yoko kiri to body. Tori right
bobi no kamae. Step left 45 degrees outside kiri, ura kitenken to
jinchu.

Kuahi
Uke right chudan no kamae, tori hira no kamae. Uke tsuki, avoid to
right. Uke steps left and yoko kiri to uko. Mogurigata, then tobi ni
kiri to butsumetsu.
Saki Ryoku
Uke left jodan no kamae, tori hoko no kamae. Jodan kiri,
mogurigata and fudoken to suigetsu.