What kind of kenpo?

[dianhsuhe]

Shihan Shane! Congrats on the promotion bro- Dig your avatar, I used to use that all the time. lol

In Kara-Ho,
Sensei Jamey

 

[ddurden]

Mainly Tracy Karate since the late 80's. I've also studied with the Southeastern Kenpo-JuJitsu Brotherhood for some time, and they are an excellent collection of ladies and gentlemen . . . and skilled fighters standing or on the ground.

Our Tracy school and the Southeastern "braddas" are pretty tight despite being from different branches . . . of the same tree, of course!

 

[OliviaEd27]

Hello! My name is Olivia, and my dad was Master Randy. He left California for my mother, she got a better job offer and they wanted to start over. He never quit practicing Kenpo but he wanted to be able to support and give me the best possible life in Texas. I picked up so many things from him in Karate. I still have his staff and black belts. He passed away a few years ago, and I just wanted to let you all know what happened to master Randy Edwardson. He never stopped talking about all of his students and his love for Kenpo.

 

[Buka]

Welcome to MartialTalk, OliviaEd27. Hope you enjoy it here.

And I'll bet your dad's proud of you.

 

[OliviaEd27]

Welcome to MartialTalk, OliviaEd27. Hope you enjoy it here.

And I'll bet your dad's proud of you.

Thank you!
He was always very proud of me. People were mentioning him on this forum so I decided to let people know what had happened to him.

 

[Buka]

Thank you!
He was always very proud of me. People were mentioning him on this forum so I decided to let people know what had happened to him.

That was nice, I'm glad you did. Are you still training?

 

[OliviaEd27]

I'm trying to find a place here in DFW. It was hard to even think about training once he died, but now I miss it.

 

[Tames D]

Hello! My name is Olivia, and my dad was Master Randy. He left California for my mother, she got a better job offer and they wanted to start over. He never quit practicing Kenpo but he wanted to be able to support and give me the best possible life in Texas. I picked up so many things from him in Karate. I still have his staff and black belts. He passed away a few years ago, and I just wanted to let you all know what happened to master Randy Edwardson. He never stopped talking about all of his students and his love for Kenpo.

Hi Olivia. Welcome.

 

[Tames D]

Hello! My name is Olivia, and my dad was Master Randy. He left California for my mother, she got a better job offer and they wanted to start over. He never quit practicing Kenpo but he wanted to be able to support and give me the best possible life in Texas. I picked up so many things from him in Karate. I still have his staff and black belts. He passed away a few years ago, and I just wanted to let you all know what happened to master Randy Edwardson. He never stopped talking about all of his students and his love for Kenpo.

Hi Olivia. Welcome.

 

[Sami Ibrahim]

"American Kenpo"

 

[Kenshijim1975]

there are lots of different kinds of kenpo out there... which one is yours?

Below is some info on 2 of the 3 styles of kenpo I study

Gyokko Ryu (“Jeweled/Jade Tiger School) is a Koryu Japanese Martial Art of Koshijutsu (Nerve Striking Technique) believed to have originated in China during the Heian Period,officially founded in 1156 AD. It stems from a style of Chinese ****ojutsu (lit. “Finger Blade Tehcnique) where striking with the fingers is emphasized. It was transmitted mostly orally from teacher to student before being documented by Takamatsu Toshitsugu and Masaaki Hatsumi.


1. O Gyokko (The original founder of Chinese ****ojutsu)

2. Ikai (The man credited for bringing ****ojutsu to Japan circa 1156 AD)

3. Gamon Doshi

4. Garyu Doshi

5. Hachiryu Nyudo Tozawa Hakuunsai (The master of Sarutobi Sasuke, circa 1159 AD)

6. Tozawa Shosuke Oho (circa 1162 AD)

7. Suzuki Saburo Shigeyoshi (circa 1180)

8. Suzuki Gobei Mitsusada

9. Suzuki Kojiro Mitsuhisa

10. Tozawa Soun (circa 1288 AD)

11. Tozawa Nyudo Genai

12. Yamon Hyoun

13. Kato Ryubaiun (circa 1394 AD)

14. Sakagami Goro Katsushige (circa 1532 AD)

15. Sakagami Taro Kunishige

16. Sakagami Kotaro Masahide

17. So Gyokkan Ritsushi

18. Toda Sakyo Ishinsai

19. Momochi Sandayu (circa 1555 AD)

20. Momochi Sandayu II (circa 1591 AD)

21. Momochi Tanba Yasumitsu (circa 1615 AD)

22. Momochi Taro Saemon (circa 1624 AD)

23. Toda Seiryu Nobutsuna (circa 1644 AD)

24. Toda Fudo Nobuchika (circa 1681 AD)

25. Toda Kangoro Nobuyasu (circa 1704 AD)

26. Toda Eisaburo Nobumasa (circa 1711 AD)

27. Toda Shinbei Masachika (circa 1736 AD)

28. Toda Shingoro Masayoshi (circa 1764 AD)

29. Toda Daigoro Chikahide (circa 1804 AD)

30. Toda Daisaburo Chikashige (circa 1804 AD)

31. Toda Shinryuken Masamitsu (born 1824, died 1909)

32. Takamatsu Toshitsugu (born 1887, died 1972)

33. Hatsumi Yoshiaki (Masaaki) (1931– present)



Kamae

Kamae (構) "Structure/Posture"

Migi Ichimonji no Kamae (右一文字之構) “Right One Character Posture”
The feet are approximately apart 1.5 times your shoulder width. The right foot is pointed forward and slightly in, while the rear is pointed left or slightly back, forming an L shape. The hips are low and the weight is distributed 60% to the rear. Your right hand is extended, with the fingers pointed, and bladed at the same angle as your foot, such that the middle knuckle is point at the uke’s heart. You left hand is held in a fist, and is hovering just above the right elbow.

Hidari Ichimonji no Kamae (左一文字之構) “Left One Character Posture”
Same as Migi Ichimonji no Kamae, except on the opposite side.

Migi Hicho No Kamae (右飛鳥之構) “Right Bird Posture”
From Migi Ichimonji no Kamae, shift your weight back to your rear left foot. Bring the heel of the right foot up and place on the yaku of your left leg. The upper body remains the same.

Hidari Hicho no Kamae (左飛鳥之構) “Left Bird Posture”
Same as Migi Hicho no Kamae, except on the opposite side.

Jumonji no Kamae (十文字之構) “Ten Character Posture”
Bring your arms in front of your chest crossed, and your hands in Shikankens. Their should be approximately a fist distance between your chest and both your hands. Your toes should be just slightly pointed outward.

Taihenjutsu Muto Dori Gata

Taihenjutsu Muto Dori Gata (体変術無刀捕型) “Body Changing Art Without Blade Capture Examples”


Hira no Kamae (平之構) “Flat Posture”

Uke is in Daijodan no Kamae with a Katana. Tori is in Hira (Shizen) no Kamae.

Uke performs Kara Take Wari. Step back with either foot and perform Sokuho/Yoko Kaiten Ukemi, making sure to maintain eye contact with uke. Come up into Ichimonji no Kamae.

Repeat both sides.

Zanshin.

Ichimonji no Kamae (一文字之構) “One Character Posture”

Uke is in Daijodan no Kamae with a Katana. Tori is in Hidari Ichimonji no Kamae.

Uke performs Kara Take Wari. Perform Kaiten 90 degrees to your right. The uke will turn to perform second cut. Leap in kneeling on your left and perform right boshiken to butsumetsu or suigetsu, covering head with left hand.

Repeat both sides.

Zanshin.

umonji no Kamae (十文字之構) “Ten Character Posture”

Uke is in Daijodan no Kamae with a Katana. Tori is in Hira (Shizen) no Kamae.

Uke performs Kara Take Wari. Perform zenpo tobi rotating body clockwise to avoid cut, such that you’re facing the blade. Cover the uke kote with your left hand. Perform tobi rotating counter clockwise and strike uke left uko with omote shuto. Perform koho naname tobi away from uke into Ichimonji no kamae.

Repeat both sides.

Zanshin.

Kihon Happo (基本八法) "Fundamental Eight Ways"

Moto Gata (基型) “Basic Examples” / Koshi Kihon Sanpo (骨指基本算法) “Bone Finger Fundamental Three Ways”

Ichimonji no Kamae Kihon Gata (一文字之構本型) “One Character Posture Basic Example”

The uke and tori begin in hidari ichimonji no kamae.

Lower your guard to create opening to your face. Uke performs a migi oitsuki. Step 45 degrees offline with right foot, and receive with left Jodan Uke. Bring right hand up moving into doko no kamae, step in with right and perform migi omote shuto to uke’s (hidari) uko. Return to ichimonji no kamae. Repeat on other side.

Zanshin.

Hicho no Kamae Kihon Gata (飛鳥之構本型) “Crane Posture Basic Example”

The uke begins in hidari ichimonji no kamae. The tori begins in hidari hicho no kamae.

Raise your guard to create opening to butsumetsu. The uke performs a migi oitsuki. Drop hips as you perform hidari gedan uke nagashi. With left (raised foot) kick uke in butsumetsu. Bring your left foot from the kick down just in front of your right foot. Step in with right foot and perform migi ura shuto to uke’s (migi) uko. Return to Ichimonji no kamae. Repeat on other side.

Zanshin.

Jumonji no Kamae Kihon Gata (十文字之構本型) “Ten Character Posture Basic Example”

The uke begins in hidari ichimonji no kamae. The tori begins in jumonji no kamae.

Lower your gaurd to create opening to the face. The uke will perform a migi oitsuki. Step back with your right foot 45 degrees to fall offline and out of distance from the punch. Perform hidari jodan daken uke, using your hips and torso for power. With the same hand, push forwards with your left hip and deliver a boshiken into uke’s migi butsumetsu. Shift your weight back and move into ichimonji no kamae. Then step back into Jumonji no kamae. Repeat on other side. Repeat on other side.

Zanshin.

Torite Kihon Gata (基本型) “Taking Hand Fundamental Examples”

Omote Kote Gyaku (表小手逆) “Outer Wrist Reverse”

The uke grabs your right lapel with their left hand.

Gently cover the knuckles of the uke’s left hand with the palm of your right. Using the fingers of your right hand, grab the meet of the uke’s left hand just below their thumb. As you do this position your thumb to the kyusho Omote Gyaku. Grab the same lapel under the uke’s left hand with your left hand.

In one powerful motion, drop your hips pushing the uke’s left hand up with your right as you pull your lapel from their hand. Bring your left hand up to your right to secure your grip on the uke’s hand. It’s important that their arm is straight and hand above the elbow.

Step back with your right foot, twist your hips while applying the wrist lock downward throwing the uke over. Return to Kamae.

Repeat on both sides.

Zanshin.

Omote Gyaku Ken Sabaki (表逆拳捌) “Outer Reverse Fist Movement”

The uke grabs your right lapel with their left hand.

Gently cover the knuckles of the uke’s left hand with the palm of your right.

The uke performs a Migi Gyaku Tsuki. Fall back to your right 45 degrees and receive with either an Uke Nagashi or Daken Uke. It’s important that your left foot be in front of the uke’s left foot to prevent a kick to the groin.

Using the fingers of your right hand, grab the meet of the uke’s left hand just below their thumb. As you do this position your thumb to the kyusho Omote Gyaku (the pinky bone on the back of the hand). Grab the same lapel under the uke’s left hand with your left hand.

In one powerful motion, drop your hips pushing the uke’s left hand up with your right as you pull your lapel from their hand. Bring your left hand up to your right to secure your grip on the uke’s hand. It’s important that their arm is straight and hand above the shoulder.

Step back with your right foot, twist your hips while applying the wrist lock downward throwing the uke over. Return to Kamae.

Repeat on both sides.

Zanshin.

Ura Kote Gyaku (裏小手逆) “Inner Wrist Reverse”

The uke grabs your right lapel with their left hand.

Gently cover the knuckles of the uke’s left hand with the palm of your right.

Whether the uke performs a Migi Gyaku Tsuki or not, the movement is the same: Fall back to your right 45 degrees and receive with either an Uke Nagashi or Daken Uke. It’s important that your left foot be in front of the uke’s left foot to prevent a kick to the groin.

Reach your left hand over and grab the uke’s left hand such that your thumb is pressing into the kyusho Ura Gyaku (also known as and your fingers are gripping the pinky side of the hand (your palm is against the back of the uke’s hand).

Drop your hips pushing the uke’s left hand up with both your hands. It’s important that their arm is straight and hand above the shoulder.

Step back with your left foot, twist your hips applying the wrist lock downward throwing the uke over. Return to Kamae.

Repeat on both sides.

Zanshin.

Musha Dori (武者捕) “Warrior Capture”

The uke grabs your right sleeve with their left hand.

Fall back to your right 45 degrees into Ichimonji no Kamae. In this moment, bring your right hand over the uke’s elbow – scooping and bending it. Step with your right foot just beyond the uke’s left foot and turn counter clockwise (your shoulders should be in alignment with uke’s and both facing the same direction). Clasp your palms together to secure the uke’s arm. Pushing hips out and up, swing your arms forward to destroy the uke’s shoulder. Use a right Kagiken into the uke’s leg, and then kneel on the same knee.

Repeat on both sides.

Zanshin.

Muso Dori (武双捕) “Warrior Twin Capture”

The uke grabs your right sleeve with their left hand.

Fall back to your right 45 degrees into Ichimonji no Kamae. In this moment, bring your right hand under the uke’s elbow – scooping trapping it against your chest. Secure the uke’s elbow with your left hand. Step with your left foot to the left such that you are perpendicular to the uke’s centerline. The uke should be bending forward and their left elbow turned upward. Drop your hips and apply pressure through the elbow to drive the uke’s head into the ground.

Repeat both sides.

Zanshin.

Jo Ryaku no Maki

Jō Ryaku no Maki (上略之巻) “First Volume Scroll”

Kokū (虚空) “False Void”

Both uke and tori begin in hidari ichimonji no kamae.

Uke performs migi jodan tsuki. Fall back with your right foot and perform uke nagashi with left hand striking uke’s right hoshi. Immediately take small step with left foot to flatten body facing uke, and twist hips counter-clockwise performing right omote shuto into same kyusho – this is to break the uke’s elbow. This position invites the uke to kick towards the midsection or suzu.

Uke brings their left foot in and performs right sokugyakuken. Twist hips clockwise and pull right leg back to avoid kick. Using your left leg kick uke’s right leg before it lands. Immediately strike uke’s butsumetsu with boshiken – knocking them away.

Zanshin.

Renyo (輦輿) “Palanquin”

Both uke and tori begin in hidari ichimonji no kamae.

Uke performs migi jodan tsuki. Fall back with your left foot and perform uke nagashi with right hand – deflecting uke’s tsuki with your wrist. Immediately take small step with right foot to flatten body facing uke. This position invites the uke to kick towards the midsection or suzu.

Uke brings their left foot in and performs right sokugyakuken. Twist hips clockwise and pull right leg back to avoid kick. Using your left leg, draw out the uke’s kick so that they feel they’re going to slip. The uke will grab you with their right hand. Step in with your right foot and perform migi ura shuto into uke’s uko. Reach over with right hand and begin to perform ura gyaku. As the uke resists this, step back with left foot turning hips counter-clockwise and allow hand to rotate into omote gyaku. Perform a right sokuyakuken to uke’s suigetsu in this motion. Still rotating body, nage uke with omote gyaku in a large circular motion. Finish by lifting uke onto their left side and stomp wakitsubo with your left leg.

Zanshin.

Danshu (彈手) “Shooting Hand”

Uke grabs tori’s right sleeve with their left hand.

Step diagonally off line with your right foot back. Slide your right hand underneath uke’s left elbow, and applying light pressure with your palm, rotating elbow upwards and inward. Uke performs right tsuki. Increase pressure on uke’s left elbow to help throw uke’s right tsuki off-course, and daken uke with left hand in an upward direction. Shift your weight to the right pulling the uke into a

Using left hand, perform muso dori and kick to the outside of uke’s left knee with your right foot collapsing them to the ground on to their back breaking the arm.. Finish by performing a sokugyakuken into uke’s butsumetsu.

Zanshin.

Danshi (彈指) “Shooting Finger”

Uke grabs tori’s right lapel with their left hand.

Lightly cover the uke’s left hand with your right, and begin to remove into omote gyaku. Uke performs right tsuki into men. Fall back offline 45 degrees to the right and perform left jodan daken uke. Rebound from the uke nagashi and perform left boshiken down into kimon.

Perform right sokugyakuken into butsumetsu. Immediately kneel back on the right knee without placing foot down and fully apply omote gyaku dropping uke onto their back. Stomp on wakitsubo with your left heel to finish.

Zanshin.


Sakanagare (逆流) “Reverse Flow”

Both uke and tori begin in hidari ichimonji no kamae.

Uke performs migi jodan tsuki. Fall offline with left foot and receive with right jodan uke. Capture uke’s right hand with your left hand to prepare to perform omote gyaku. The uke performs a right sokuyakuken. Step back with your right foot and turn clockwise, receiving uke’s kick with a right sokkiken – this is like hicho no kamae.

Turn counter-clockwise towards uke while taking uke’s right hand upwards into omote gyaku with your left hand. Uke will respond by attempting to strike suigetsu with left fudoken. Sink your hips and receive tsuki with right gedan daken uke, striking at the kyusho nagare with a shuto. Step in slightly with right foot and perform right ura shuto into uke’s uko. Step with your left foot, rotate hips counter-clockwise and perform omote gyaku on uke’s left hand. Lift uke onto their right side, and finish with a stomp into wakitsubo.

Zanshin

Keō (梟鷗) “Settling Seagull”

Uke grabs both the tori’s lapels.

In one motion, sink your hips as you hit with fudoken/shikanken to the back of uke’s hands in a downward motion. At the same time, use the inner part of your right foot to strike upwards into uke’s suzu. The uke will let go and recover to throw a right jodan tsuki. Uke nagashi tsuki with your left hand and apply pressure to their arm with your forearm to throw off their balance. Strike uke’s kasumi with a right ura shuto before finishing with a sokuyakuken to butsumetsu.

Zanshin.

Hanebi (跳火) “Leaping Fire”

Uke grabs tori’s collar from behind with their right hand.

Reach back and cover uke’s right hand with your right hand. The uke will perform a right sokuyakuken into tori’s back. Step forward with right foot and turn hips counter-clockwise while sinking to face uke. Receive to inside of uke’s keri with gedan uke nagashi. Using your left hand shuto down through uke’s right grabbing arm at hoshi while taking uke’s right hand with your right hand into hon gyaku. Apply pressure to wrist to break uke’s balance. Step back with your left foot while perform omote gyaku turning hips counter-clockwise and perform right sokuyakuken into uke’s suigetsu. Continue to turn hips and throw with omote gyaku in large circular motion.

Zanshin.

Ketō (闕倒) “Watchtower Topple”

Both uke and tori begin in Hidari Ichimonji no Kamae.

Uke performs right sokuyakuken. Step left with left foot and kick with instep to right leg to deflect. Uke responds by pulling their kicking leg back, and performs right tsuki to suigetsu. Respond by moving 45 degrees back right and receiving tsuki with jodan uke – immediately capture uke’s right kote. Perform shakoken into uke menbu (without stepping) – driving both the face and uke’s right arm back to take balance. While still holding face with right shakoken, perform right sokuyakuken into uke suigetsu to knock them over.

Zanshin.

Yubi Kudaki (指砕) “Finger Break”

Uke reaches with right hand and grabs tori’s left shoulder from behind.

Step back with left foot and turn hips counter-clockwise to face uke. In same motion perform right shikanken into uke’s yubi. Reach over with right hand and take uke’s right grabbing hand off by grabbing pinky and rotating hand clockwise. Step forward slightly with left foot and perform hon gyaku on uke’s right hand.

Zanshin.

Sakketsu (殺締) “Killing Clamp”

Uke grabs tori from behind around arms.

Sink pushing hips back assuming hoko no kamae, striking uke’s hips back with your hips. Step 90 degrees to your left and twist hips clockwise to face the uke. In this movement, strike uke’s gorin using a right fudoken in a swinging motion – striking with the back of the knuckles. Swing your right hand up underneath the uke’s left arm and trap in preparation of ganseki nage. Turn hips counter- clockwise and nage uke forward.

Zanshin.

Teiken (蹄拳) “Hoof Fist”

Uke reaches in under tori’s arms in attempt to perform a “full-nelson” on tori.

Immediately sink hips and bring in elbows to trap uke’s arms at your side. Grab fingers of uke’s hand and crush them. Position thumbs on back of uke’s hands and perform ura gyaku on both hands taking them away from your body and up over your right shoulder. In this moment, step back with your left foot and slam your hips into uke’s left hip. As you do this, twist your hips counter-clockwise and in large circular motion nage the uke forward, maintaining control of their left hand. After throwing the uke, lift him onto his right side using his left arm, and stomp wakitsubo with your right heel.

Zanshin.

Chū Ryaku no Maki (中略之巻) “Middle Volume Scroll”

Ujaku (烏鵲) “Magpie”

Both uke and tori begin in hidari ichimonji no kamae.

Uke performs migi jodan tsuki. Step offline with left foot and perform uke nagashi with right hand striking uke’s right hoshi – immediately grab uke’s right sleeve at elbow. Uke performs right sokuyakuken. Twist hips clockwise and strike leg upwards using your right foot’s instep and draw kick outward – this will cause the uke’s balance to come forward. As your right foot plants, step in with your left foot in front of the uke’s right foot and strike uke’s right butsumetsu with a left ****o/boshi ken. As you strike, lift uke’s right arm with your right hand – allow your hand to slide from the elbow and catch uke’s hand in omotegyaku.

Step underneath the arm and continue to turn clockwise as you move under uke’s arm. Use your left hand to cover any potential attacks in this moment and maintain close distance as you move in front of the uke. Secure uke’s hand with both hands and perform katate nage. Pull up on hand to bring uke onto their side, and finish with a right stomp to uke’s wakitsubo.

Zanshin.

Seitō (鯖倒) “Mackerel Topple”

Both uke and tori begin in hidari Ichimonji no Kamae.

Uke performs right tsuki. Move offline to the right and receive with left uke nagashi to hoshi. The uke then performs a right sokuyakuken. Pull left leg back and perform right fudoken into kaku. The uke responds by performing left low tsuki to suigetsu. Respond by moving to the right, and perform left gedan uke nagashi to nagare and then catch kote.

Perform ****enken into uke’s eyes. Grab the uke’s left shoulder with right hand, and perform right sokugyakuken into uke’s suigetsu. Immediately kneel back on right and take the uke down onto his back. Stand up and stomp on wakitsubo.

Zanshin

Dashin (拏振) “Shake and Pull”

Tori is in hidari Ichimonji no Kamae. Uke is in migi Seigan no Kamae holding a shoto.

The uke performs a tsuki to suigetsu. Pivot on the left foot to the left and lightly catch uke kote with left hand. Perform right shuto onto top of the uke hand to drop the shoto. Immediately take uke te into omote gyaku with both hands.

The uke responds by kicking (with either foot). Respond by receiving with right keri turning the uke away. Immediately pull left leg back and finish omote gyaku.

Finish with right sokuyakuken into wakitsubo.

Zanshin.

Korai (虎落) “Tiger Fall”

Tori begins in hidari ichimonji no kamae. Uke begins in Daijodan no kamae with shoto in right hand.

Uke performs kesa giri. Step back with left foot offline at 45 degrees and catch uke’s right wrist with your right hand. The uke will respond by recoiling arm. Move in with arm and bring hand upwards. Step underneath the arm using your left foot, using left hand to cover from potential attack. Rotate hips clockwise – keep close contact to uke to prevent from attack. Continue to move beyond uke’s left hip and perform katate nage – keeping uke’s right hand at your right hip and controlling the thumb. Finish by stomping on uke’s head with your left foot.

Zanshin.

Hōsen (蜂先) “Bee Tip”

Tori begins in hidari ichimonji no kamae. Uke begins in Daijodan no kamae with shoto in right hand.

Uke performs kiri sage. Fall offline back 45 degrees to the left stepping back with left foot – dodging the kiri. Uke responds by preparing for migi kubi giri. In this moment, perform sokugyakuken to uke right elbow knocking the shoto out of uke’s hand. As your foot lands, perform sanshitenken (pinky and thumb held together, middle finger hits uke throat notch with index and ring finger striking above collar bone on both sides) to knock the uke down.

Finish by leaping onto the uke, driving knee into uke’s chest.

Zanshin.

Kō (橰) “Well Bucket”

Tori begins in hidari ichimonji no kamae. Uke begins in Daijodan no kamae with shoto in right hand.

Sono Ichi
Uke performs kesa giri. Step slightly offline outside to the left with left foot and lightly catch uke’s right hand with your right hand. Uke attempts to kick you with right sokuyakuken. While still controlling uke’s right hand, drop your hips low and scoop uke’s kick with right arm and shoulder. Step in with right and tsuki towards uke’s menbu while holding their right hand to nage them backwards.

Zanshin.

Sono Ni
Uke performs kesa giri. Step slightly offline inside to the right with right foot and lightly catch uke’s right hand with your left hand. Uke attempts to kick you with right sokuyakuken. While still controlling uke’s right hand, drop your hips low and scoop uke’s kick with right arm and shoulder. Step in with right and tsuki towards uke’s menbu to nage them backwards.

Zanshin.

Shien (獅猿) “Lion Monkey”

Tori is in hira (shizen) no kamae. Uke is behind tori holding a shoto.

Uke thrusts into the back of the tori. Shift offline to the left to evade strike, lifting right arm to evade tsuki. Lightly cover uke’s right wrist with right hand. The uke responds by kicking with right foot. Responds by pivoting clockwise on your right foot lifting the uke’s right hand into ura gyaku and kick with left foot into uke’s kobura.

Allow the hand to fall into omote gyaku as you capture with your left hand. Kneel back on left knee and throw uke down using omote gyaku.

Stand up and perform right keri into wakitsubo.

Hōraku (崩落) “Cave-In”

Tori is in hira (shizen) no kamae. Uke is behind tori holding a shoto.

Uke thrusts into the back of the tori. Shift offline to the left to evade strike, lifting right arm to evade tsuki. Hug uke’s arm to trap it, and strike down onto uke’s hand using left happaken to knock the shoto out.

Take the uke’s hand into take ori, and pivot on right foot clockwise. Strike with right ura shuto to uke kasumi. Stomp on uke’s right toki with right foot as you grab uke’s shoulder with right hand. Kneel back on on right and pull the shoulder down to drive the uke face down into the ground in a manner similar to o’gyaku.

Stand up and stomp on uke’s head.

Zanshin.

Ge Ryaku no Maki

Ge Ryaku no Maki (下略之巻) “Last Volume Scroll”

Shunū (隼雄) “Falcon Excellence”

Tori begins in hidari Ichimonji no kamae. Uke is in migi bobi no kamae with a katana.

As the uke begins to draw the katana, step in deep with left foot and stop the draw with your left palm on the butt of the handle. The uke will respond by stepping back with left foot to retreat. In this moment step in with right and perform right boshiken to shinchu. Step back with right foot and take the sword handle with your right hand, drawing it out – blade side up and tip pointed at uke. Support the back of the blade with your left hand or forearm.

Zanshin.

Shunsoku (隼足) “Falcon Feet”

Tori begins in hidari Ichimonji no kamae. Uke is in migi bobi no kamae with a katana.

As the uke begins to draw the katana, step in deep with left foot and stop the draw with your left palm on the butt of the handle. The uke will respond by striking downward onto your left hand with a fudoken – in a similar manner to a gedan uke. As they do this, drop the sword handle low to avoid the strike as you step in with your right foot and grab the end of the saya with your right hand.

Move your left hand to the uke’s left hand and extend their arm outward – anchoring it against your left hip. Step back with your left foot and rotate counter clockwise, barring uke left arm with the saya in your right hand, and drive uke into the ground. Finish with a sokugyakuken to wakitsubo.

Zanshin.

Ichigeki (一撃) “One Blow”

Tori is in hidari Ichimonji no kamae. Uke is in Bobi no Kamae with katana.

The uke draws the katana. If necessary leap slightly back to avoid being cut. The uke then raise the katana into Daijodan no Kamae, stepping back with right foot. In this moment, leap in with left foot forward and grab uke’s right elbow with your left – pressing your thumb into hoshi, and pressing the arm up and back. Perform right boshiken into uke’s left kimon – making the uke slump and further lose balance. Perform right sokuyakuken into uke suigetsu to knock them down. Finish in Ichimonji no Kamae.

Zanshin.

Kaisoku (魁足) “Superior Feet”

Tori is in hidari Ichimonji no kamae. Uke is in Daijodan no kamae.

The uke cuts down. Step to the left to avoid cut, and perform right sokuyakuken into uke hands to make them drop the katana.

The uke will immediately reach to draw his shoto. Depending on the timing, either land from the kick onto his right foot, or step forward with right foot on the top of uke’s right foot. Cover his right (drawing) arm with your left hand, and perform right ura shuto into uke right kasumi. Take uke’s right hand with your left hand in omote gyaku – releasing his grip from the shoto, and reach up underneath his right arm with your right arm and grab is right shoulder.

Take the omote gyaku outward with your left – extending his arm out and back. Step in with your left and perform osoto nage with your right foot, dropping the uke onto their back. Pin the uke.

Zanshin.

Kōryaku (掬掠) “Scoop Up and Throw Over”

Tori begins in hidari Ichimonji no kamae. Uke is in Daijodan no kamae.

The uke cuts down. Pivot on your left foot counterclockwise 90 degrees, covering the uke hands with you left. Twist your hips counterclockwise and reach with right and grab uke’s right elbow. Apply wringing pressure to the right arm – pushing on the uke’s right hand and pulling the uke’s right elbow. Bring uke’s arm to your chest and drop sliding right leg through (tachi nagare) dropping the uke onto the floor next to you head first. Rise back to your feet and return to Ichimonji no kamae.

Zanshin.

Iaifū (意合封) “Draw Sealing”

The tori is hidari Ichimonji no kamae. Uke is in Bobi no kamae with katana.

The uke performs drawing cut to do. Leap back to avoid, maintaining kamae. The uke raises the katana to daijodan. Step in deep with your right foot and left fist above your head to protect from the uke’s arms. Perform right boshiken into uke kimon, then imediately kick with right sokuyakuken into uke suigetsu to knock them down. Return to Ichimonji no kamae.

Zanshin.

Chingan (沈雁) “Wild Goose”

Tori begins in Ichimonji no kamae. Uke is in Chudan no kamae.

Move to Han no Hanitsu no Kamae; your body is square, with the heel of your left foot in alingment with the toes of your right, resembling a runers stance. The fingers of the middle and ring finger are curled in touching the thumb. The index and pinky finger are extended outwards. The hands are aligned in your midsection.

The uke performs tsuki. Step forward 45 degrees with left foot sinking hips deep. Make sure your shoulders rotate clockwise so that your hands point to the uke’s hands. With your left hand on top and right hand underneath, cup the uke’s hands. Stepping with your right foot raising the uke’s hands so that you are in front of them. Pivot on your right foot counter-clockwise circling your left foot back and throw uke in a manner similar to katata nage (but using both hands). Finish with sokugyakuken to uke wakitsubo, then return to Ichimonji no kamae.

Zanshin.

Fūmo (風盂) “Big Wind”

Tori begins in Ichimonji no kamae. Uke is in Chudan no kamae.

The uke performs tsuki. Step forward 45 degrees with left foot sinking hips deep. With right hand, press index and right finger just underneath the tsuba – with a finger on each side – to hook the sword. With your left, perform ura shuto into the bridge of the nose (this will loosen the uke’s grip). Then grab the handle of the sword with left hand. Step 90 degrees with left foot and powerfully twist hips counter clockwise to cut the uke across suigetsu with their own sword.

Zanshin.



Koto Ryu History


Koto Ryu was formalized into a Ryu-Ha by the 15th Soke of Gyokko Ryu Koshijutsu, Sakagami Taro Kunishige, hence much of the overlap with between the kihon (“basics”) of Gyokko and Koto Ryu. Although the precise origins are unknown, it is believed to have been imported from either China or Korea.


1. Sakagami Taro Kunishige -Tembun era (1532)

2. Sakagami (Bando) Minamoto Masahide -Tembun era (1532)

3. Sogyokkan Ritsushi -Tembun era (1532)

4. Toda Sakyo Ishinsai -Tembun era (1532)

5. Momochi Sandayu I -Tembun era (1532) (died 1581)

6. Momochi Sandayu II -Tensho era (1573)

7. Momochi Tanba Yasumitsu -Bunroku era (1595)

8. Momochi Taro Saemon -Genna era (1615)

9. Toda Seiryu Nobutsuna -Kwanyei era (1624)

10. Toda Fudo Nobuchika -Manji era (1658)

11. Toda Kangoro Nobuyasu -Tenna era (1681)

12. Toda Eisaburo Nobumasa -Hoyei era (1704)

13. Toda Shingoro Masayoshi -Shotoku era (1711)

14. Toda Daigoro Masayoshi -Gembun era(1736)

15. Toda Daisaburo Chikashige -Bunkwa era (1804)

16. Toda Shinryuken Masamitsu (Kobe) 1824-1908

17. Takamatsu Toshitsugu Uoh (Nara) Taisho (1909) 1887-1972

18. Hatsumi Masaaki (Noda) Showa (1968) 1931-

Goho no Kurai Dori (五法位取) "Five Ways Position Capture"

Migi Seigan no Kamae (右正眼之構) “Right Correct Eye Posture”

The feet are approximately apart 1.5 times your shoulder width. The right foot is pointed forward, while the rear is pointed back 45 degrees, forming an L shape. The hips are low and the weight is evenly distributed. Your right hand is extended in a shuto, with the fingers pointed directly at the uke’s eyes and elbow slightly bent. You left hand is also in a shuto, and is covering your right kyusho uko. Your left shoulder is pulled back, making you very bladed.

Hidari Seigan no Kamae (左正眼之構) “Left Correct Eye Posture”

Same as Migi Seigan no Kamae, except on the opposite side.

Hira Ichimonji no Kamae (平一文字之構) “Flat Line Posture”

From Migi Seigan no Kamae, step forward with your left to bring yourself flat to your opponent. Your feet should still be 1.5 times shoulder width, but the toes are pointed slightly outward. Extend your left hand to your side so that it’s mirroring your right. Both your hands should be at the same height as your eyes, and should be barely visible at the edge of your peripheral vision.

Hōkō no Kamae (抱囲之構) “Encircling Posture”

From Hira Ichimonji no Kamae, bring your hands above your eyes palm facing downwards and slightly inwards, as if to shade your vision from the sun. You elbows should be slightly bent and open. Whichever foot is slightly forward, the hand should match.

Bōbi no Kamae (防備之構) “Defensive Posture”

From Migi Seigan no kamae, bring your left hand down, make a fist, and place it into your left hip pocket. This would be the position you would have if you were maintaining a grip on the saya of a katana or shoto.

Shoden Gata

Shoden Gata (初伝型) “Beginning Examples”

Yokutō (抒投) “Scoop Topple”

Uke grabs tori in kumiuchi.

Step back with your left foot into subtle yoko aruki and rotate your hips counter-clockwise while sinking. In the same motion, pull down on uke’s right sleeve with your left hand while performing a boshiken into uke’s uko. Once the uke’s balance has been broken, immediately perform a right foot sokugyakuken into uke’s gorin. As you plant your right foot, give a right jodan tsuki into uke’s menbu – knocking them away.

Zanshin.

Ōgyaku (押虚) “Push Void”

Uke grabs tori in kumiuchi.

Cover uke right hand with left. Uke attempts to perform koshinage. As uke does this, pull your right leg back and pull your right hand back as you drop your hips to prevent the throw. Using left hand, grab uke shichibatsu or butsumetsu and drive in thumb. The uke responds by stepping back. In this moment step in performing right fudoken to kimon or boshiken to butsumetsu.

Zanshin.

Kōyoku (抗抒) “Wing Talon”

Both uke and tori begin in hidari Seigan no Kamae.

Uke performs a migi jodan tsuki. In one motion, step directly to the right and turn hips counter-clockwise. In this moment, deflect uke’s tsuki with left jodan uke nagashi while performing a right fudoken into uke’s kimon/suigetsu. Step in with left foot and bring left arm up under uke’s right arm to prepare for ganseki nage. Cover uke’s left hand with your right hand in case they attack. Twist hips clockwise and nage uke.

Zanshin.

****ō (拡倒) “Tree Topple”

Uke grabs lapels cross handed as if to perform a hon jime.

Happaken elbows upwards to hyper extend arm. Step back with your left foot into subtle yoko aruki and rotate hips while sinking in counter-clockwise direction. Simultaneously, take uke’s right hand with your left hand into omote gyaku. In the same motion perform a right handed koppoken into uke’s left kasumi. This will knock the uke down. It’s important that the hips twisting, the gyaku, and the koppoken all happen naturally at the same time.

Zanshin.

Hosoku (捕捉) “Capture”

Uke grabs tori’s right lapel with their left hand and performs gyaku tsuki with right hand.

Cover uke’s grab with your right hand. Step back with your left behind your right foot (subtle yoko aruki). While twisting your hips counter-clockwise, perform uke nagashi with left hand and perform boshiken into uke’s left koe with your right hand – this causes the uke’s upperbody to come forward. Step in with the left foot and perform kikakuken into menbu of uke.

Zanshin

Hōteki (放擲) “Scoop Throw”

Uke grabs tori’s right lapel with their left hand and performs fudoken tsuki with right hand.

Cover uke’s grab with your right hand. Step back with your left behind your right foot (subtle yoko aruki). While twisting your hips counter-clockwise, perform uke nagashi with left hand. Slide your right hand to uke’s elbow as you bring your left hand to uke’s left wrist. Turn elbow and wrist outward while applying upward pressure. Shift balance forward to push uke’s balance onto their right side. Step in with your right and turn your hips counter-clockwise while sinking as you place uke’s left arm on your right shoulder. Raise your hips as you continue to turn to break the arm and throw the uke.

Zanshin.

Shatō (斜倒) “Diagonal Topple”

Uke grabs tori’s right lapel with their left hand and performs fudoken tsuki with right hand.

Without moving feet, sink and twist hips counter-clockwise. In the same movement, uke nagashi with the left hand while performing boshiken with the right hand into uke’s yugasumi (behind ear) – this will make the uke lean to their left (your right). Immediately kick upward into uke’s suzu to knock them down.

Zanshin.

Ketō (掛倒) “Hook Topple”

Uke grabs both tori’s lapels.

Step back with right foot and perform shikanken powerfully down on the back of uke’s hands dropping your hips to release the grab. Immediately perform right sokuyakuken into gorin knocking the uke down.

Zanshin.

Sakugeki (搾撃) “Wrenching Attack”

Uke attempts to grab lapels with both hands.

From shizen, move 90 degrees to the left to dodge grab. In the same movement cover with left hand while delivering boshiken to ayagasumi with right hand. Using left leg, perform kagiken keri to outside of uke’s right leg. Make sure to step through using your foot to ride the uke’s knee to the ground. This will turn the uke away from you as they go down to their knee.

Zanshin

Tangeki (擔撃) “Bearing Intensity”

Both uke and tori begin in right hand forward seigan no kamae.

Uke performs hidari, then migi tsuki. From seigan no kamae, uke nagashi first punch with right hand stepping back at 45 degrees with left foot. Avoid second tsuki by sinking 45 degrees to the left and fudoken uke’s right hoshi upwards. Immediately assume hoko no kamae with hands at their eyebrow level giving the intention of attacking with your hands. Immediately perform sokuyakuken into gorin knocking them downward.

Zanshin.

Batsugi (拔技) “Removal Technique”

Uke grabs tori’s left lapel with their right hand.

Twist hips counter-clockwise keeping feet planted. In the same movement, pinch uke’s right hand on the ring finger just below the largest knuckle using your left hand, and strike uke’s cheek with a boshiken with your right hand. Remove grabbing hand and apply omote gyaku – kneeling directly back on your left knee.

Zanshin.

Settō (折倒) “Break Topple”

Uke grabs your left lapel with their right hand.

Sink twisting your hips clockwise. Simultaneously perform a right omote shuto into hoshi of uke’s left grabbing arm in an upward direction – this breaks their balance and opens up their side. Immediately twist hips clockwise and perform left boshiken into uke’s butsumetsu to knock them down.

Zanshin

Shihaku (指拍) “Finger Beat”

Both uke and tori begin in right side forward Seigan no Kamae.

Uke performs migi, then hidari tsuki. Uke nagashi first tsuki by falling offline 45 degrees to the right and uke nagashi using left hand. This first uke nagashi is using far distance so that your fudoken strikes the inside of the uke’s kote. Uke nagashi second tsuki by moving offline to the left and striking uke’s hoshi. The distance on this uke nagashi is about medium distance. Immediately perform soku yaku ken with right foot. If the uke senses this in time, they will perform gedan uke nagashi attempting to catch the leg. Pull your leg back before the uke can catch it, and instead use your forward momentum to perform a right fudoken tsuki into suigetsu.

Zanshin.

Kyogi (拒技) “Reject Technique”

Both uke and tori begin in right side forward seigan no kamae.

Uke performs hidari, then migi tsuki. Uke nagashi to the inside at 45 degrees, first the right and then to the left. Step in with your right foot and stomp on top of uke’s right foot on the kyusho toki. Immediately perform gyaku tsuki into “en” which is just above suigetsu to knock uke down.

Zanshin.

Kakkō (括拷) “Tie and Hit”

Uke performs left then right jodan tsuki.

Uke nagashi inside of left jodan tsuki by stepping back 45 degrees on your left foot and using right hand. Uke nagashi inside of right tsuki by stepping back 45 degrees on your right foot and using your left hand. Use a right kagi ken to strike just above uke’s right knee on the inside thigh to push the uke’s hips backs while rotating them as it brings their shoulders forward. As you plant your right foot, reach in with a right shako ken into uke’s throat notch. Drive your fingers down inward as you sink your hips to collapse uke to the ground.

Zanshin.

Uranami (浦波) “Inner Waves”

Both uke and tori begin in migi seigan no kamae.

Uke performs left then right jodan tsuki. Uke nagashi inside of left jodan tsuki by stepping back 45 degrees on your left foot and using right hand. Uke nagashi inside of right tsuki by stepping back 45 degrees on your right foot and using your left hand. Use a right kagi ken to strike inward on uke’s left yaku (located on the back of the calf) collapsing them to their knee. As you plant foot, strike on both sides of the uke’s uko with koppo ken and apply itami jime downward, driving the uke into the ground.

Zanshin.

Tenchi (天地) “Heaven Earth”

Both uke and tori begin in migi seigan no kamae.

Uke performs left then right jodan tsuki. Uke nagashi inside of left jodan tsuki by stepping back 45 degrees on your left foot and using right hand. Uke nagashi inside of right tsuki by stepping back 45 degrees on your right foot and using left hand. Perform right sokugyakuken (using instep) to suzu to bring uke shoulders forward. As right foot lands, perform right shako ken into uke face with thumb driving into jinchu and fingers into the eyes.

Zanshin.

Katamaki (片巻) “Single Wrap”

Both uke and tori begin in hidari seigan no kamae.

Uke performs right then left jodan tsuki.Uke nagashi inside of right tsuki by stepping back 45 degrees on your right foot and using your left hand. Uke nagashi inside of left jodan tsuki by bringing your right foot in front of the uke’s left foot and shielding with your right hand – this should feel more like intercepting the attack rather than dodging it. Immediately catch uke’s left arm with your right arm in musha dori, sinking your hips. Step back with your right foot. In one movement, sink to your right knee as you strike with a left boshi ken to uke’s ura kimon or butsumetsu.

Zanshin.

Chuden Gata

Chūden Gata (中伝型) “Intermediate Examples

Hida (飛打) “Flying Strike”

Uke approaches tori.

When uke is in range, leap in with right foot forward and left backwards turning body counter-clockwise. In this moment, perform right ura shuto to uke’s right kasumi, causing the uke to fall towards their left side. As the uke begins to fall, place ball of right foot on uke’s suzu slightly on uke’s left side and shift weight onto your right foot riding it to the ground as uke falls, crushing it as they land on the ground.

Zanshin.

Hisaku (飛搾) “Flying Squeeze”

Uke approaches tori.

When uke is in range, leap in with right foot forward and left backwards turning body counter-clockwise. In this moment, perform right boshi ken into uke left uko. Immediately grab both uke’s shoulders and perform tobi, wrapping legs around uke’s waist locking ankles and perform dou shime. Allow your upper body drop down while still holding the waist with your legs, and capture the uke’s legs. Allow your lower body to slide down as you pull on uke’s legs to drop the uke onto their back.

Wrap your right arm around uke’s left leg so that your wrist is on the back of the uke’s calf. Lean back and apply upward pressure, causing pain. The uke will respond by sitting up; perform right sokuyakuken into the uke menbu. Perform koho kaiten ukemi.

Zanshin.

Hicho (飛鳥) “Crane”

Uke approaches tori.

When uke is in range, leap in with right foot forward and left backwards turning body counter-clockwise. Strike uke’s face with a right hand shako ken. Sink to take uke’s balance forward. Immediately perform fudoza tobi and kick uke using right sokugyakuken to gorin, landing back on your feet.

Zanshin.

Hitō (飛倒) “Flying Topple”

Uke approaches tori.

When uke is in range, leap in with right foot forward and left backwards turning body counter-clockwise. In this moment, perform right sanshitenken into uke left kimon, causing the uke to slump. Immediately perform tobi and perform soku yaku ken with both legs into uke’s wakitsubo, and perform koho kaiten ukemi.

Zanshin.

Kappi (括飛) “Enclosing Leap”

Uke approaches tori.

When uke is in range, leap in with right foot forward and left backwards turning body counter-clockwise. In this moment, perform right ura shuto to uke’s right uko. As the uke begins to fall, immediately leap turning hips clockwise and switching feet and perform left ura shuto to uke’s left kasumi.

Zanshin.

Monpi (捫飛) “Grasping Leap”

Uke approaches tori.

When uke is in range, leap in with right foot forward and left backwards turning body counter-clockwise. In this moment, perform right shako ken into uke left butsumetsu, turning hand and driving thumb downward into kyusho, making uke slump to their left. Immediately perform tobi and right keri across uke into their right koe, landing on your feet.

Zanshin.

Suitō (夊倒) “Opposite Topple”

Both uke and tori begin in hidari seigan no kamae.

Uke performs right then left jodan tsuki.Uke nagashi inside of right tsuki by stepping back 45 degrees on your right foot and using your left hand. Uke nagashi inside of left tsuki by stepping back 45 degrees on your left foot and using your right hand. Immediately perform koho tobi maintaining kamae. Uke responds with zenpo tobi to your front, and grabs around your neck with left arm and grabbing your left arm with their right in preparation for kubi nage (neck throw). Drop your hips to stall throw. In rapid succession, perform migi koppo ken into uke right butsumetsu, then uke’s right side of the face.

Using your right hand, grab uke’s left kote and bring it over to your front in a manner similar to ura gyaku, but bar his elbow underneath your right elbow. Step in front of uke’s left leg with your right. Step back with your left, and rotate hips counterclockwise to nage the uke.

Zanshin.

Gohi (鼠飛) “Mouse Flying”

Uke approaches tori.

When uke is in range, leap in with right foot forward and left backwards turning body counter-clockwise. In this moment, perform right san ****en ken into uke’s throat notch, driving them into the ground.

Zanshin.

Hehi (撇飛) “Lashing Leap”

Uke and tori approach each other.

When uke is in range, tori performs tobi turning counterclockwise leading with right foot and performs right shako ken (nitoken) into uke’s throat notch. Sink hips to bring uke’s balance forward, then immediately leap turning clockwise and perform shako ken into uke’s cheek.

Zanshin.

Tekigaeshi (擲返) “Tossing Return”

Uke and tori approach each other.

When uke is in range, tori performs tobi turning counterclockwise leading with right foot and performs right shako ken underneath uke’s right armpit, driving your thumb upwards into wakitsubo, causing the uke to lean to their right. Perform tobi and sokugyakuken with right foot into uke’s right sai, landing with both feet.

Zanshin

Kōtō (喉倒) “Throat Topple”

Uke approaches you on your right side.

When the uke is in range, leap in with your right foot forward and left foot backward turning your hips counter-clockwise. Strike into uke’s throat notch with shako ken. Sink hips while pressing downward with your right hand to bring uke’s balance forward and downward. Immediately strike uke’s gorin/suzu with a right sokugyakuken.

Zanshin.

Kakuhi (攫飛) “Flying Leap”

Uke grabs tori’s left lapel with their right hand.

Grab uke’s right sleeve with your left hand and step in with your right foot and strike using the palm into the uke’s ayagasumi – make sure to leave your hand here. Step back with your left behind your right foot (subtle yoko aruki). While twisting your hips counter-clockwise, pull on the sleeve with your left hand while pushing the uke’s chin back with your right, causing the uke to turn. While continuing to rotate counter-clockwise and use your right foot to perform a koho keri into the uke’s left sai, tossing them to the ground.

Zanshin.

Okuden Gata

Okuden Gata (奥伝型) “Advanced Examples”

Santō (攅当) “Gathering Hit”

Uke leaps in and grabs tori in kumiuchi.

Uke turns counter-clockwise and attempts to throw with uchi mata nage. As he turns counter-clockwise and raises his leg to kick, allow your shoulders to turn counter-clockwise with the throw and perform tsui ken (fudo ken used as a “hammer fist”) into kaku of uke’s right leg – striking it downwards. It’s important to perform this before the uke makes contact with the foot. Raise your hips and strike powerfully with your left forearm into uke’s right arm driving it away from you – you can also use a left fudo ken to hoshi to accomplish this. Leap back and away from uke.

Zanshin.

Santō (攅倒) “Gathering Topple”

Tori begins in migi seigan no kamae. Uke begins in hidari seigan no kamae with shoto at right hip.

Uke performs a right chudan tsuki. Step back with the left foot and pivot on right foot clockwise between 45 and 90 degrees. Cover uke’s right kote with your left palm. Using a right ****en ken, strike uke’s right hoshi – damaging the arm and causing it to recoil. Catch uke’s right kote with your left hand and perform right fudo ken into back of uke’s te, or a ura shuto in an upwards direction – causing the uke to drop the shoto. Reach with right hand and perform ura gyaku on uke’s right hand, this will twist the uke counter-clockwise. Perform a left sokugyakuken into uke’s left inner-sai and using your bodyweight, drive uke downwards by apply pressure with ura gyaku – then bring it forwards to drop them to the floor.

Zanshin.

Kotō (虎倒) “Tiger Topple”

Tori begins in hidari seigan no kamae. Uke begins in daijodan no kamae with shoto in right hand.

Uke performs kesa giri. Leap slightly offline, and rotate hips counter-clockwise while performing a left omote shuto into uke’s right hoshi – driving arm away and causing uke to drop shoto. Leap in to the right in front of the uke, turning hips clockwise. Perform happa ken with both hands to both uke’s yabba. Perform keri to uke’s suzu, then leap back into seigan no kamae.

Zanshin.

Shinsen (神剪) “Spirit Cut”

Uke grabs tori’s lapels in a manner to attempt to apply gyaku jime.

Immediately step back with left foot behind right (subtle yoko aruki). Sink hips and allow body to rotate counter-clockwise. Before uke can apply choke, bring chin down and to the left to prevent choke, and happa ken uke’s ears. Shift your weight forwards and perform kikaku ken into uke’s shinchu – knocking them backwards.

Zanshin.

Konpi (梱飛) “Surrounding Leap”

Tori begins in migi seigan no kamae.

The uke approaches. When they are within range – approximately 5 feet (1.5 meters) leap forward rotating clockwise so that your left foot is near the uke’s foot and your right foot is on a 45 degree angle to the rear. As you land, perform a left omote shuto into Uke’s right uko. Immediately leap away into seigan no kamae.

Zanshin.

Sōsetsu (抓摺) “Grasping Slide”

Both tori and uke are in shizen.

The uke attempts to grab your lapels. Step forward with your right foot sinking your hips and perform shako ken to both sides of uke’s butsumetsu and lifting the uke onto his toes. Rotate counter clockwise and powerfully kneel between uke’s legs with your left leg and throw uke over your left side, turning your hands in a clockwise manner similar to turning a wheel.

Zanshin.

Sōtō (抓倒) “Grasping Topple”

Uke approaches tori.

When uke is in range, leap in leading with your left foot and grab uke’s shoulders while driving your thumb into uke’s raimon – the uke will sink their hips from the pain. Step slight with your right and perform kikaku ken into uke’s jinchu. Place your right foot into uke’s left koe/koshitsubo and drop sliding left leg through uke’s leg, and perform tomoe nage. Hold uke’s shoulders and follow their momentum with a koho kaiten ukemi so that you land on the uke’s chest. From here perform jime until uke submits.

Zanshin.

Kōki (扣鬼) “Arresting a Demon”

Uke and tori approach eachother.

When uke is in range, tori performs tobi turning counterclockwise leading with right foot and performs right happa ken to uke’s left yabba. Immediately square hips to uke, and perform tobi striking uke suigestu with both feet. As you land, drop into koho kaiten ukemi, and come up into seigan no kamae.

Zanshin.

Kimon (鬼門) “Demon Gate”

Uke approaches tori.

When uke is in range, step in with right foot and reach under uke armpit with shako ken, driving thumb into kimon – drive the thumb in and down to make the uke slump. With your left hand, grab the uke’s right elbow. Step 90 degrees to the left with the left foot, and step behind uke’s right leg with your right. Kneel down on your left and bring down uke in such a manner that their right arm breaks on your right leg.*

Zanshin.

*For training purposes, bring the uke’s body over your leg in a tripping manner.

Ransetsu (乱雪) “Chaotic Snow”

Uke approaches tori.

When uke is in range, leap in leading with your right foot and using right hand grab up underneath uke’s left armpit, driving thumb in and down into kimon – the uke will sink their hips from the pain. Use your left hand to cover from any potential attack. Step in between uke’s legs with your left foot, and shoot your right leg through and descend, pulling the uke down by his armpit in a similar manner to tachi nagare (this is technically called tate nagare when performed in this manner).

Zanshin.

Ura Kimon (裏鬼門) “Inner Demon Gate”

Uke approaches tori.

When uke is in range, leap in with right foot forward and left backwards turning body counter-clockwise. In this moment, perform right shako ken into uke’s left ura kimon, grabbing the flesh. Sink hips ripping with right shako ken downward to bring uke’s balance downward and forward. Immediately leap performing soku gyaku ken into uke’s same kyusho.

Zanshin.

Hekitō (Sabaki) Gata (壁刀型捌型) “Wall Blade Movement Examples”

Sokuboku (蹴朴) “Simple Kick”

The tori begins in migi Seigan no Kamae, the uke in daijodan no kamae.

The uke begins to cut. Pivot on your right foot clockwise sliding your left foot to the left. Shift your balance on to your left foot and perform sokugyakuken into uke hands to knock the sword out. Your right foot will land inside the uke’s right foot. Step with your left forward, twisting hips counterclockwise and strike menbu with shako ken. Return to seigan no kamae.

Zanshin.

Bokuhen (朴返) “Simple Reply”

The tori begins in hira ichimonji no kamae. The uke is Chudan no Kamae.

The uke steps in with the left and performs do giri. Leap back and to the left, rotating your body counter clockwise (your left foot should be in front pointing at the uke, your right foot to the rear). The uke raises the sword to Daijodan no Kamae in preparation to cut. Step deep in with your right foot, keeping your hips low. Grab uke’s left eblow with your right hand – pressing your thumb into hoshi – and push the arm back to take balance. Perform right sokugyakuken into uke suigetsu to knock them down. Finish in Seigan no Kamae.

Zanshin.

Damara (打扣) “Hitting Peace”

Tori is in Hidari Hoko no Kamae. Uke is in Chudan no Kamae.

The uke tsuki to suigetsu. Perform Yoko Aruki 45 degrees forward to the left by stepping with your right foot. Allow your hips to rotate clockwise, and cover the uke right hand with your left. As you uncross stepping with your left, perform fudo ken into the back of uke right hand. Then take uke right hand with both hands into omote gyaku. Kneel backwards on left knee – rotating counter clockwise 90 degrees – and complete omote gyaku. Finish in Seigan no Kamae.

Zanshin.

Shuriki (手力) “Hand Power”

Tori begins in migi Bobi no Kamae. Uke is in Daijodan no Kamae.

The uke cuts down. Pivot on your right foot clockwise approx 135 degrees, your left foot moving behind you to your left in a circular motion. With right hand, perform a right ura shuto to uke right forearm (nagare). Perform this shuto so that it brushes down the arm with your palm, ending by striking the base of the thumb to break. Rotate your hips counter clockwise as you step with your right foot (as if to walk past the uke on their right side) and perform an omote shuto to the eyes or bridge of the nose. Finish in seigan no kamae.

Zanshin.

Kibo (跂望) “Standing on Tip Toes Hoping”

The tori begins in hidari seigan no kamae. The uke is in Daijodan no Kamae.
The uke cuts. Pivot on your left foot 45-90 degrees counterclockwise, your right foot moving in a circular manner. Cover the uke hands – especially the right – with your left hand. Shift your weight to your left foot, turning your hips counter clockwise, and perform fudo ken into uke right jakkin inside their arm – this will make them let go of the sword. Perform right sokuyakuken into uke suigetsu to knock them down. Finish in Seigan no Kamae.

Zanshin.

Batsu Yo (跋扈) “Domination”

Tori is in migi Bobi no Kamae. Uke is in Chudan no Kamae.

Uke steps with left and begins to perform do giri. Step deeply with left, – making sure that you end positioned at the uke hands as they continue the arc of the cut. While doing this, make a fist with your right hand, and strike to uke shinchu knocking them over. If timed correctly, this will feel like the uke is running into the punch. Finish in Seigan no kamae.

Zanshin.

Seki Ryoku (跖力) “Powerful Step”

The tori is in hidari Hoko no Kamae, uke in Daijodan no Kamae.

Once the uke commits to the cut, step in deep with your right foot kneeling on your left knee, and strike into uke suigetsu with right fudo ken. Make sure to keep your left arm above your head to protect from uke’s arms, knocking them to the ground. Finish in Seigan no Kamae.

Zanshin.

Kuahi (跨飛) “Straddling Leap”

The tori begins hira ichimonji no kamae, uke in seigan no kamae.

The uke performs a tsuki. Respond by pulling your right leg back to dodge. The uke responds by stepping with left foot and attempting dou giri. Immediately drop to the floor underneath the cut (your hands should be near the uke’s left foot. Once the blade has passed, leap vertically and perform soku yaku ken with both feet into uke suigetsu. Land performing koho kaiten ukemi returning to seigan no kamae.

Zanshin.

Hope someone finds this useful.

 

[watching]

there are lots of different kinds of kenpo out there... which one is yours?

Jeff Speakman kenpo 5.0. But I've also trained in Parker kenpo.