Jujutsu Section One

When the term Te Hodoki is used it sometimes refers to Escape techniques done with the hands, as the school lists in its kihon gata basic techniques.. But the term is a standard Sino-Japanese idiom that means Basic Introduction. There is Kata tehodoki, things which are not very involved and there is Ryote hodoki that which is a bit more involved. In this school and many like it, the structure of this Section on Jujutsu is the same as the technique structure. Kata tehodoki is composed of Atekomi-No-Jūhō and the Kihon-gata whereas the Ryote hodoki section is the Shoden and Chuden No Kata Geiko. This is the structure of the school.

The 10 methods concern themselves with Sakkatsu no wakimae, or Discerning how to Bind by 'Killing', in which the application of pressure points and vulnerabilities is described as “killing” the pressure point. This is supposed to be the first thing one learns from various examples of these ten methods embodied in the kihon gata techniques. The doctrines and teachings of this school focus heavily upon binding by killing (usage of pain and injury by means of pressure point application.) Binding the limbs of the body by means of pain (pain induced paralysis.) Binding the body by means of asphyxiation (asphyxiate paralysis.) Binding the body and limbs by visual distortion (sensory-based paralysis.) By blinding, asphyxiating and paralyzing through the technique one has a greater chance of defeating opponents greater in size and number than oneself. There are several other vital points not listed here but these are the standard 10 preferred vital points that the school's techniques prefer to attack.

○ 霞ノ殺 Kasumi No Koroshi Killing Kasumi (“Mist” vital point) can also be written (翳) means “dimness of vision”. This is to attack the temples of the head and the eyes both to disturb the faculty of vision and perception. I would think that it is unnecessary to state that the preference is to attack here with sword or staff (a weapon of any kind) and that killing kasumi (or any other pressure point) is not so well done by one's fist or foot? Yet it is true that one needs no weapon to use the 10 Methods of Reliable Attack.

○ 松風ノ殺 Matsukaze No Koroshi Killing Matsukaze (“Pine-wind” vital point) This is to attack the hollow base of the throat just above the breastbone to disturb the faculties of speech and respiration. Matsukaze (“Wind-in-the-pines”) vital point is the lower throat down to the collar bones and breast bone.

○ 村雨ノ殺 Murasame No Koroshi Killing Murasame (“Village Rains/Autumn rains” vital point) This is to attack the collar bones of the throat and chest, to disturb the faculties of speech and respiration and to bind by means of pain. Murasame (“Autumn rains”) vital point is the general area of the collar bones.

○ 電ノ殺 Inadzuma No Koroshi Killing Inadzuma (“Lightning” vital point) This is to attack the Illiac crest of the hips and that area of the hips, to to bind by means of pain and cause paralysis of the lower body on either side.

○ 月影ノ殺 Getsuei No Koroshi Killing Getsuei (“Moon light” vital point) This is to attack the area of the belly just around the naval to disturb the faculties of speech and respiration as well to paralyze by pain. Getsuei (“Moon light”) vital point is the lower belly down along the naval.

○ 腰壺ノ殺 Koshitsubo No Koroshi Killing Koshitsubo (“Hip bowl” vital point) This is to attack the area of the back just above the hipbone to paralyze by pain. Koshitsubo (“Hip bowl”) vital point is the place where the spine joins the hipbone at the sacrum. Or Koshitsubo Hip Bowl is the place where the front thigh joins the hip bone and so one attacks there as well.　　

○ 雁下ノ殺 Ganke No Koroshi Killing Ganke (“Wild Goose Down” vital point) This is to attack the top or base of the calf muscle to bind by means of pain and paralyze by pain. Ganke (“Wild Goose Down”) vital point is the area of the calf muscle itself. Sometimes Ganke is called instead 龍下 Ryūge “dragon down”.

○ 明星ノ殺 Meishō No Koroshi Killing Meishō (“Bright Star” vital point) This is to attack the armpit to bind by means of pain and paralyze by pain. Meishō (“Bright star”) vital point is the area of the armpit itself, especially front of the armpit where the shoulder muscle joints.

○ 水月ノ殺 Suigetsu No Koroshi Killing Suigetsu (“Moon Water” vital point) This is to attack the pit of the stomach and solar plexus to bind by means of pain, and disturb the faculties of speech and respiration (asphyxiate paralysis.) Suigetsu (“Moon water”) vital point is the area of the solar plexus and stomach itself.

○ 恭敬ノ殺 Kyōkei No Koroshi Killing Kyōkei (“Kyōkei” vital point) This is to attack the Instep of foot and toes, to bind by means of pain and cause paralysis of the limb on either side.

The 10 Methods of Reliable Attack (Atekomi-no-jūhō) concerning to bind by 'killing' must be represented in performance of the Kihon gata basic techniques or they have not been done properly at all. Furthermore, the first listed items of the kihon gata basic techniques (from uchikomi through to Ganseki below) are collectively referred to as the Kihon happō or Basic 8 Methods of Jujutsu. The first three are striking methods and together are called the Atemi sanpō of the Kihon happō. The last five techniques from Kote gyaku through Ganseki are referred to as the Torite gohō of the Kihon happo. They are inter-combined, one each of the Atemi sanpō with one each of the Torite gohō and so to form one single technique. For example then, that technique is called “Uchikomi kote gyaku” (that is to say: uchikomi + kote gyaku). In Japanese language then, one has said Uchikomi kote gyaku or “to drive in by wrist reversal”. Further examples: Kerikomi Take Ori or “Kicking in to break bamboo”, Tsukikomi Ganseki or “Thrusting/pushing in against a big rock”. Atekomi Musha Dori or “Expecting to capture a warrior” (that is simply what atekomi (o) musha dori(-masu) means in Japanese language.) Beyond these Kihon happō Basic 8 Methods the list from Katate hodoki through to Kakushi buki are collectively called Goshin-no-kihon-gata or Basic techniques of Self Defense. ALL KIHON GATA ARE VERY SIMPLE AND EASY TO PERFORM and are usually not more than three moves long. They are all done juhanken (by hand, with cane and by short sword.)

Beginning from Hachiji (Shizen) natural standing posture, uke (attacker) and tori (defender) strike the ichimonji posture, uke enters thrusting (tsukikomi) to which tori (defender) replies with Chudan mawari uke ura gyaku goroshi (rotating middle parry killing the ura gyaku vital point of the inner wrist) and strikes uchikomi killing kasumi vital point. These movements can be done a number of ways, tori using only his right hand/sword/staff or using both interchangeably. Several minor henka variations.

Beginning from Hachiji (Shizen) natural standing posture, uke (attacker) and tori (defender) strike the ichimonji posture, uke enters striking (uchikomi) to which tori (defender) replies with Chudan mawari uke ura gyaku goroshi (rotating middle parry killing the ura gyaku vital point of the inner wrist) and strikes tsukikomi killing suigetsu vital point (stomach pit). These movements can be done a number of ways, tori using only his right hand/sword/staff or using both interchangeably. Several minor henka variations.

Beginning from Hachiji (Shizen) natural standing posture, uke (attacker) and tori (defender) strike the ichimonji posture, uke enters thrusting with the heel (kerikomi) against the hip or thigh of tori (the defender.) To which tori (defender) replies by skipping back onto one foot (hicho no kamae) parrying with Gedan uke ganke goroshi (lower parry killing the ganke vital point of the calf muscle) and strikes uchikomi killing kasumi vital point. These movements can be done a number of ways, any of several minor henka variations.

Beginning from Hachiji (Shizen) natural standing posture, uke (attacker) and tori (defender) strike the ichimonji posture, uke enters striking (uchikomi) to which tori (defender) replies by shifting back and crossing the arms (jumonji no kamae) with Chudan mawari uke ura gyaku goroshi (rotating middle parry killing the ura gyaku vital point of the inner wrist) and strikes hiza atekomi killing inadzuma vital point (illiac hip crest) with a knee strike. If inadzuma is to high for a target the koshitsubo as the front of the hip and thigh might suffice. These movements can be done a number of ways, tori using instead hiji atekomi (elbow strike) to kill kasumi or other suitable target. Or to use tai atekomi (kata atekomi) body/shoulder strike killing murasame or other suitable target. Several minor henka variations.

Beginning as usual (unless otherwise is the case) kote gyaku captures at the wrist to perform te nage hand throw. These movements can be done a number of ways, there are a few minor henka variations which might include, for example kote gyaku wrist reversal used as an immobilization of pain (thus killing ura gyaku inner wrist vital point.) .

Beginning as usual (unless otherwise is the case) oni kudaki captures at the wrist and arm to perform te nage hand throw by ude garami (arm entanglement) killing ura gyaku inner wrist vital point and perhaps also killing Meishō armpit vital point. These movements can be done a number of ways, there are a few minor henka variations which might include, for example ude garami arm entanglement used as an immobilization of pain (thus killing ura gyaku inner wrist vital point, and perhaps others such as killing Meishō vital point.)

Beginning as usual (unless otherwise is the case) take ori captures at the wrist to perform te nage hand throw by ude kujiki (arm wretching.) These movements can be done a number of ways, there are a few minor henka variations which might include, for example ude kujiki arm wretching used as an immobilization of pain (thus killing ura gyaku inner wrist vital point, and perhaps others such as killing Meishō vital point.)

○ 武者捕【腕締】 Musha Dori [Ude Jime] Warrior Capture [Arm Constriction]

Beginning as usual (unless otherwise is the case) Musha dori captures at the wrist to perform te nage hand throw by ude jime (arm constriction.) These movements can be done a number of ways, there are a few minor henka variations which might include, for example ude jime arm constriction used as an immobilization of pain (thus killing ura gyaku inner wrist vital point, and perhaps others such as killing Meishō vital point.)

Beginning as usual (unless otherwise is the case) Ganseki captures at the arm and shoulder to perform koshi nage hip throw (or otherwise) by kata gatame (shoulder lock.) These movements can be done a number of ways, there are a few minor henka variations which might include, for example kata gatame shoulder lock used as an immobilization of pain (thus killing Meishō vital point and perhaps others.)

Honme Kote Dori (Main form wrist capture) Beginning from Hachiji (shizen) face to face, uke (attacker) has taken tori (defender) by the right wrist. Katate hodoki uses mawari te gyaku (rotating wrist reversal) captures at the wrist kote dori to kill ura gyaku inner wrist vital point These movements can be done a number of ways, there are a few minor henka variations.

○ Honme Matsukaze No Koroshi (Main form killing Matsukaze vital point) Beginning from Hachiji (shizen) face to face, uke (attacker) has taken tori (defender) by the right wrist. This Katate hodoki uses nukite harai (plucking hand drive off) often by anchoring from the captured wrist.

○ Honme Meishō No Koroshi (Main form killing Meishō vital point) Beginning from Hachiji (shizen) face to face, uke (attacker) has taken tori (defender) by the right wrist. This Katate hodoki uses kumade harai (raking hand drive off) often by anchoring from the captured wrist.

○ Honme Murasame No Koroshi (Main form killing Murasame vital point) Beginning from Hachiji (shizen) face to face, uke (attacker) has taken tori (defender) by the right wrist. This Katate hodoki uses kumade harai (raking hand drive off) often by anchoring from the captured wrist.

○ Honme Getsuei No Koroshi (Main form killing Getsuei vital point) Beginning from Hachiji (shizen) face to face, uke (attacker) has taken tori (defender) by the right wrist. This Katate hodoki uses kumade harai (raking hand drive off) often by anchoring from the captured wrist.

○ Honme Unjun No Koroshi (Main form killing Unjun vital point) Beginning from Hachiji (shizen) face to face, uke (attacker) has taken tori (defender) by the right wrist. This Katate hodoki uses kumade harai (raking hand drive off) often by anchoring from the captured wrist. Sometimes unjun “Arm Tamer” vital point the name is pronounced 'ude nare' instead. The same vital point is sometimes called 弱筋 Jakkin “Weak muscle” and so the entire vital point is sometimes called 弱筋腕馴 Jakkin unjun “Arm taming weak muscle”. To be clear, unjun (jakkin) is at the front and at the rear of the forearm, and roughly corresponds to the bicep and tricep muscles of the upper arm.

Honme Kote Dori (Main form wrist capture) Beginning from Hachiji (shizen) face to face, uke (attacker) has taken tori (defender) by both wrists or arms. Ryote hodoki uses Ryote gyaku (both hands reversal) to free the hands and captures at the wrist kote dori to kill ura gyaku inner wrist vital point and others. These movements can be done a number of ways, there are a few minor henka variations such as Ryote mawari harai (sweeping rotation with both hands), Katate mawari harai (sweeping rotation with one hand), Mawari kujiki (rotating wretch) and etc etc.

○ Honme Unjun No Koroshi (Main form killing Unjun vital point) This Ryote hodoki uses kumade harai (raking hand drive off) after freeing one (or both hands) and often by anchoring from the captured wrist. Sometimes unjun “Arm Tamer” vital point the name is pronounced 'ude nare' instead. As mentioned, this same vital point is sometimes called 弱筋 Jakkin “Weak muscle” and so the entire vital point is sometimes called 弱筋腕馴 Jakkin unjun “Arm taming weak muscle”.

Honme Kote Dori (Main form wrist capture) Beginning from Hachiji (shizen) face to face, uke (attacker) has taken tori (defender) by both collars, or by sleeve and collar. Tai hodoki uses mawari kote gyaku (rotating wrist reversal) to remove one hand and captures at the wrist kote dori to kill ura gyaku inner wrist vital point and others These movements can be done a number of ways, there are a few minor henka variations such as Ryote mawari harai (sweeping rotation with both hands), Katate mawari harai (sweeping rotation with one hand), Mawari kujiki (rotating wretch) and etc etc.

Oya goroshi is both a technique and a sub-standard Sino-Japanese language idiom that means refers to killing the intentions (in a major fashion), this being the case that the technique(s) involve manipulating the thumb is rather 'symbolic'. Oyayubi tsubushi crushing the thumb. Oyayubi kujiki wretching the thumb. Oyayubi jime constricting the thumb. A few others besides. Oya goroshi is usually about killing ura gyaku inner wrist vital point and others besides.

Ko goroshi is both a technique and a sub-standard Sino-Japanese language idiom that means refers to killing the intentions (in a minor fashion), this being the case that the technique(s) involve manipulating the pinky finger is rather 'symbolic'. Koyubi tsubushi crushing the pinky. Koyubi kujiki wretching the pinky. Koyubi jime constricting the pinky. A few others besides. Ko goroshi is usually about killing ura gyaku inner wrist vital point and others besides.

Hana hineri is both a technique and a standard Sino-Japanese language idiom that means really to scold someone (scold the opponent), this being the case that the technique(s) involve manipulating the nose is rather 'symbolic'. Hana hineri is usually about killing menbu facial vital point and others besides. Hana tsubushi crushing the nose. Hana Haraite sweeping under the nose with the hand, Hana kujiki wretching the nose. Hana jime constricting the pinky. A few others besides. Hana hineri is usually about killing menbu facial vital point and others besides.

Mimi hineri is both a technique and a standard Sino-Japanese language idiom that means really to scolding someone (scolding the opponent), this being the case that the technique(s) involve manipulating the ears is rather 'symbolic'. Mimi tsubushi crushing the ear. Mimi kujiki wretching the ears. Mimi jime constricting the ear. A few others besides.

Koshi Kudaki is both a technique and a standard Sino-Japanese language idiom that means breaking down (while in the middle of something) or to falter halfway through a thing. Koshi Kudaki is about killing koshitsubo vital point or about killing inadzuma vital point at the illiac crest. Some versions of the technique involve a hip throw as well.

○ 足砕 (四法蹴) Ashi Kudaki (Yonho Geri) Leg Crushing (4 Methods Kicking)

Ashi Kudaki is both a technique and a standard Sino-Japanese language idiom that means breaking down (in the beginning of something) or to falter from the start of a thing. Ashi Kudaki is about killing such vital points as ganke (ryūge or the calf muscle) and kyōkei (or the instep and toes of the feet) just to name a few. Naturally the techniques of Ashi kudaki involve kerikomi (kicking in) and fumikomi (stomping in).

○ 足絡 (足輪ウ) Ashi Garame (Ashi Rau) Leg Entanglement (Leg Encircling)

Ashi Garame is both a technique and a standard Sino-Japanese language idiom that means to falter from the start of a thing by locked circumstances. Ashi garame is about killing such vital points as ganke (ryūge or the calf muscle) and kyōkei (or the instep and toes of the feet) just to name a few. Naturally the techniques of Ashi garame involve kerikomi (kicking in) and fumikomi (stomping in). Ashi rau leg encircling uses footwork in conjunction with kicking or sometimes Ashi garame uses one hand to scoop the leg and joint lock it.

One might understand that the using the body alone to defend is severely disadvantaged and so usage of other implements are advocated to help one prevail despite the disadvantage. Chief among these implements is strategy itself since it was strategy that taught the need to plan the use of small implements to counterbalance such disadvantages. Items that are not uncommon and might lend themselves to the affair at hand, namely to menace the opponent and create further advantage by which we may compare to the opponent. Hidden weapons are used according to demarcated plan in a bid to counterbalance the disadvantage of using the body alone to defend. The techniques of Hidden weapons are a compliment to the use of body techniques alone. Toda ryū moro fundo kusari is the use of various lengths of small linked chain in techniques that sometimes are joined to a short staff or other implement used as a weapon. There are various small implements that are used in Toda ryū moro fundo kusari which may be joined to the chain or held separately in the hand. These are namely such as 短刀 Tantō (“little sword” tear-drop shaped blade with hole in base), 掌剣 Shōken (“Palm sword” similar to pointed brass knuckles or similar to an ice pick) and 角手 Kakute (“hand hook” ringed spike or small meat hook like aperture) just to name a few. Aikuchi To Dokubari Dirks and Iron Needles are a number of iron spikes, dirks and daggers (including shaken wheel blades or “throwing stars”) they are usually very small but some may be two and half hand-spans long. They are often used by stabbing them into vulnerable places along the joints of the arm or shoulder as a hindrance to movement (so the opponent cannot easily protect himself) or sometimes at the hip or knee joint intended to reduce his maneuverability. They have other uses as well. Nawanage no jutsu techniques of the rope and cord for all kinds of uses. The first use of nawanage throwing rope is for binding, packaging and load-bearing. That is the most original usage. Most of the kakushi buki are really this sort of implement. And so often nawanage means to bind and package the opponent (not unlike the idea of handcuffs and leg irons.) Perhaps even slung from the boughs of a tree or any reasonable object in more dire circumstance. As with the Toda ryu fundo kusari, there are various implements used in conjunction with the rope or cording. There are any number of other small impromptu hand held weapons such as Te hakari hand scales and many many besides (as many as you can think of.)

○ 初伝ノ型稽古 Shoden No Kata Geiko “Formal Patterns of the Initial Transmission”

The first grouping of formal techniques within the school, the entirety of the kihon gata are designed to prepare for and introduce the adherent to the Shoden Initial Transmission techniques. There are 14 shoden techniques, meant to address defense from attacks that are staged from the front-side, the backside, alongside and etc etc.

Mist capture (capture by impairing vision) is to kill the kasumi vital point at the temple-of-the-head and may use kote nage wrist throw to turn uke out (in fact, traditionally, the technique is done by kote gyaku-kote dori and using this anchor to kill kasumi... killing kasumi the opponent will usually collapse and does not need to be thrown down.) There are a variety of Kasumi dori henka. Kasumi dori is a standard Sino-Japanese language idiom that means something quite like “to daydream; waste time on frivolity” (kasumi-doru).

Body counter (overturn bodily) is to kill the jinchu vital point at the upper lip and uses hana hineri nose wringing in various forms to overturn uke, such as by “clothes-lining”.) There are a variety of Dō gaeshi henka. Dō gaeshi is a standard Sino-Japanese language idiom that means something quite like “to utterly collapse; fail” (Dō-gaesu).

Entangling capture is to kill the ganke (ryūge) vital point at the calf muscle and uses ashi garami leg entangling in various forms (such as kataha ashi garami Single wing leg entanglement) to overturn uke. There are a variety of Karame dori henka. Karame dori is a standard Sino-Japanese language idiom that means something quite like “to fail by locked circumstances” (Karame-doru).

This is to attack from behind. Pursuing capture is to kill the nōdo (back of head), amon (where neck and back of skull joint) and tensō (shoulder blades) vital points, but not necessarily in that order. It usually uses saka taoshi hem throwdown in some form (grabbing the collar from behind and slinging the back of his head towards his heels) to overturn uke. There are a variety of Oikage dori henka. Karame dori is a standard Sino-Japanese language idiom that means something quite like “to fail and fall behind; fall back(-wards)” (Oikage-doru).

Hip wheel is to kill the nōdo (back of head), amon (where neck and back of skull joint) and tensō (shoulder blades) vital points, may also kill koshitsubo or inadzuma vital points (depending upon how the opponent was thrown down.) It usually uses tai-atari body attack in some form (grabbing in a hip throw) to overturn uke. There are a variety of Koshi guruma henka. Koshi guruma is a standard Sino-Japanese language idiom that means something quite like “gathering all around; main things”.

Fist flowdown is to kill ura gyaku inner wrist and omote gyaku outer wrist and hand vital points as well as others It usually uses hiki-taoshi pulling throwdown in some form to down uke. There are a variety of Kobushi nagashi henka. Kobushi nagashi is a standard Sino-Japanese language idiom that means something quite like “calamity and distress”. (Ken nagasu, as far as I know NEVER kobushi nagasu.)

Tiger Throwdown is to kill kyokukotsu pubic bone vital point as well as others It usually uses tsukikomi thrusting in against the kyokukotsu vital point and perhaps tai-otoshi body drop to down uke. There are a variety of Koto henka. Koto is a standard Sino-Japanese language idiom that means something quite like “distressing calamity”.

Undone victory is to kill fukuto thigh or ganke (ryūge) vital point as well as others. It uses perhaps tai-taoshi body throwdown or something similar to down uke. There are a variety of Ransho henka.

Single chest capture is to kill ura gyaku inner wrist and kimon (ribs beside and below nipple) vital points as well as others. It usually uses te-nage hand throws or something similar to down uke. There are a variety of Kata muna dori henka.

Double chest capture is to kill ura gyaku inner wrist and kimon (ribs beside and below nipple) vital points as well as others (especially getsuei flank of the belly vital point). It usually uses te-nage hand throws or something similar to down uke. There are a variety of Ryu muna dori henka.

Goblin capture is to kill the jinchu (upper lip) and sometimes murasame (collarbone) vital points as well as others (especially getsuei flank of the belly vital point). It usually uses kokyu-nage inertia throws or something similar to down uke. There are a variety of Tengu dori henka.

This is to be attacked from behind. Rearguard crusher is to kill the ura gyaku inner wrist and hijigome elbow joint vital points. It usually uses ude gatame arm lock or seoi nage hoisting throw in some form to overturn uke. There are a variety of Kaigo kudaki henka.