Gyokko Ryu Jo Ryaku no Maki

Upper Scroll (Jyo Ryaku no Maki)

In the Joryaku no Maki, the defender assumes an attitude of Ten Ryaku Uchu Gassho. For purposes of form, the defender assumes Ten Ryaku Uchu Gassho no Kamae before stepping back into Tenchi Inyo no Kamae, which generally takes the shape of Number-One Stance (Ichimonji no Kamae) and beginning the technique. The purpose is for the defender to associate an attitude of emptiness while performing the following techniques. By doing this in practice, the defender can assume this attitude in an actual confrontation even without using the stance. This posture is merely the tangible form of an intangible concept. While practicing, the defender should pay attention to the natural changes within the movement and focus on moving fluidly. For each technique, a stance is given for the defender to start in; however, this is only a suggestion for learning the basics of the technique and various stances such as Hira, Jumonji, and Hicho can be used.

In order to practice these techniques, one should know all of the Gyokko Ryu Kihon well especially the Fundamental Eight Forms (Kihon Happo) as the following techniques are extensions of those eight.

Empty Space (Kouku)

The defender and opponent start in Left Number-One Stance (Hidari Ichimonji no Kamae). The opponent steps forward with a right thrust (Migi Jodan Tsuki). The defender steps diagonally back to the right and receives with his left fist (Uke Nagashi). This block is upward to the underside of the arm and travels more of a diagonal up into the arm instead of a full circle. The defender should have a feeling of falling into Number-One Stance (Ichimonji no Kamae) when doing this. Immediately after the attack is received, the defender steps slightly to the left with his left foot and shifts his weight slightly to the left while doing a right outer sword-hand strike (Omote Shuto Ken) to the opponent's right wrist, forearm, or elbow depending on where the opponent's strike was received by the other hand. This is a version of Fist Destroyer (Ken Kudaki) so it should follow much of the same principles. In other words, the left fist should stay in place as a barrier (Totoku) until the right hand takes its place. The sword-hand strike here is done upward at forty-five-degree angle, which will make the opponent more likely to kick with the right foot. If the strike is done downward, it will make the opponent more likely to kick with left foot. When striking like this, defender's hands are held away from his body. After the strike, the defender will finish in a stance similar to Number-Ten Stance (Jumonji no Kamae). Moving into this position will allow the defender to protect himself from high attacks but will purposely leave the defender's groin and lower body open. The opponent recovers by sliding his left foot up next to the right and raising his right leg to take advantage of the defender's opening. The opponent kicks (Sokuyaku Geri) with his right foot at the defender's groin or solar plexus (Suigetsu). The defender swings his right foot around to the rear and shifts his weight onto his right leg to evade the kick and create a pocket of air or empty space (Kukan). The defender should have a feeling of freely moving or even hopping into Flying-Bird Stance (Hicho no Kamae) when doing this. The defender then counters with a left kick into the underside of the opponent's leg above the crook of the knee (Kobura) while the opponent's leg is about to land. This is not a hard kick as it is done with either the top of the foot or the toes, but it serves an important purpose. The contact on the opponent's leg will create a feeling of falling forward into emptiness. As soon as the defender's foot lands from the kick, the defender finishes with a left thumb strike (Boshi Ken) pushing into the top ridge of the opponent's right hip bone on his back or into his ribs (Butsumetsu). The purpose of this technique is to get the opponent to kick into an empty space, and the defender must learn to time the evasion of the kick until the last minute. This will cause the opponent to think he has kicked the defender and when the defender suddenly moves out of the way, the opponent's foot and by extension his body will fall into the empty space (Kukan) created by the defender.

The Aristocrat's Palanquin (Renyo)

The defender and opponent start in Left Number-One Stance (Hidari Ichimonji no Kamae). The opponent steps forward with a right thrust (Jodan Tsuki). The defender steps diagonally back to the right at a forty-five-degree angle and receives the attack with the left forearm (Jodan Uke) at the opponent's wrist. The opponent slides his left foot forward next to his right foot and then attempts a right kick (Zenpo Geri) at the defender's groin or solar plexus (Suigetsu). The defender takes a small step, circling his left foot over to the left with a feeling of moving into Flying-Bird Stance (Hicho no Kamae) so he can counter with a right kick to the opponent's kicking leg (Kobura). (If the opponent is too close, the defender can use a circular motion with his knee to knock the kick away). The opponent grabs (Katate Mune Dori) the defender's left lapel with his right hand. The defender covers the opponent's grabbing hand at the pinkie knuckle with his left fist and steps diagonally back to the left with the left foot, drawing the opponent out slightly. When stepping, the defender moves as though he is falling into Number-One Stance (Ichimonji no Kamae) and does an inner sword-hand strike (Ura Shuto Ken) to the front right side of the opponent's neck (Amado). While keeping the right hand in place as a barrier (Totoku), the defender raises his body weight up, steps diagonally back with his right foot, and drops his body weight so the opponent's hand naturally turns over in an inner reversal (Ura Gyaku). The defender's elbow can be used when doing this to straighten and apply pain to the opponent's elbow. As the defender's left elbow comes in between himself and the opponent, he takes the opponent's right hand with his own right hand and creates a complete inner reversal (Ura Gyaku). Occasionally, the technique is finished here by the defender using the inner reversal (Ura Gyaku) to throw the opponent over and causing him to roll like a big wheel. However, the technique is most commonly done with the opponent resisting at this point while bent over. When the opponent tries to resist by straitening up, the defender moves with the opponent and switches to an outer reversal (Omote Gyaku) while turning his center (Hara) to the left to face into the opponent and kicking (Zenpo Sokuyaku Geri/ Zenpo Sokugyaku Geri) into the opponent's ribs with the right foot. When taking the opponent's hand in an outer reversal (Omote Gyaku), the defender's left hand can be used to control the opponent's elbow instead of the opponent's hand. As soon as the defender's foot lands, the defender twists the opponent's hand in an outer reversal (Omote Gyaku) and throws the opponent into a large roll breaking his wrist. The defender's right foot will be forward after the kick, so he steps back slightly with the left foot during the throw. When the opponent is on the ground, the defender can finish with a left kick to the opponent's ribs near the armpit (Wakitsubo) while further damaging the opponent's wrist. The purpose of this technique is to learn how to throw the opponent so he falls like a large wheel. It also teaches how to change naturally from Ura Gyaku to Omote Gyaku.

Bouncing Hand (Danshu)

The defender and opponent are in Flat Stance (Hira no Kamae). The opponent grabs (Katate Ude Dori) the defender's right sleeve with the left hand and punches (Naguru) with the right fist without taking a step. As soon as the opponent tries to grab, the defender steps diagonally back to the right with his right foot, drops his body weight low, and circles his right arm around to the outside of the opponent's left arm so that he can place his palm on the opponent's elbow. (The position of the hand will cause a slight pressure to start rolling the opponent's elbow upwards, creating a reversal (Gyaku) on the opponent's wrist and a partial Intention-less Capture (Muso Dori) on the opponent's elbow). While moving diagonally back to the right, the defender makes a small circle with his left fist, striking into the opponent's elbow (Hoshi) and knocking the opponent's arm off to the side with a receiving flow (Uke Nagashi). The defender uses the impact along with his hips to bounce his fist off the opponent's arm and strike forward with an inner sword-hand strike (Ura Shuto Ken) into the opponent's left side neck (Amado). While doing the strike, the defender rises slightly so he can move easier. The rising motion along with the movement of the hips during Uke Nagashi will allow the opponent's arm to twist fully and fall into a full Muso Dori. The defender uses his right foot to stomp (Take Ori) into the side of the opponent's left knee and break the leg. The defender can then bring the opponent face down to the ground. When the opponent lands, the defender kicks (Sokugyaku Geri) with his right toes to the opponent's ribs (Butsumetsu) or stomps into the ribs of the opponent's left armpit (Wakitsubo) with the right heel. The purpose of this technique is to learn how to bounce the hand into a shuto and strike as though cutting with a sword.

The opponent grabs the defender's right lapel with the left hand (Katate Mune Dori) and punches (Nagaru) with his right fist. The defender steps diagonally back with his right foot (Gaeshi), drops his body weight low, and covers the opponent's left hand with his right hand. During this motion, the defender circles his left fist around, knocking the opponent's arm off to the side (Uke Nagashi). The defender bounces his hand off the opponent's forearm and strikes forward with an inner sword-hand strike (Ura Shuto Ken) to the opponent's left side neck (Amado). The defender rises up slightly after doing the strike to the neck so he can move easier. The defender takes the opponent's left hand to the right in an Outer Reversal (Omote Gyaku), stretching the opponent out while he takes a step with the right foot toward the opponent's rear in order to flank him. However, the defender does not move behind the opponent. Instead, he moves to a position where he can hold his right arm out straight with the opponent's hand in his, but still remain on the side of the opponent and somewhat to the rear. The defender slides his left foot up next to the right and does a right inverted-heel kick (Take Ori) at a downward angle to the side/back of the opponent's left knee to destroy the leg. The defender can then finish with a right kick into the opponent's side.

The opponent grabs the defender's right lapel with the left hand (Katate Mune Dori) and punches (Nagaru) with his right fist. The defender steps diagonally back with his right foot (Gaeshi), drops his body weight low, and covers the opponent's left hand with his right hand. During this motion, the defender circles his left fist around, knocking the opponent's arm off to the side (Uke Nagashi). The defender bounces his hand off the opponent's forearm and strikes forward with an inner sword-hand strike (Ura Shuto Ken) to the opponent's left side neck (Amado). The defender takes the opponent's left hand to the right and downward in an Outer Reversal (Omote Gyaku), stretching the opponent out. This will twist the opponent's body and open up the opponent's legs. The defender kicks with the right foot to the inside of the opponent's right knee. This will turn the opponent's knee to the left and bring the opponent's head down toward the right. The opponent's head will now be nearly level with the defender's left fist, so the defender can punch the opponent in the face while taking him down with an outer reversal (Omote Gyaku).

Bouncing Finger (Danshi)

The defender and opponent are in Flat Stance (Hira no Kamae). The opponent grabs the defender's right lapel with the left hand (Katate Mune Dori). Then, the opponent steps forward with his right foot and thrusts with the right fist (Jodan Tsuki). The defender counters by starting an Outer Reversal (Omote Gyaku). So, the defender covers the opponent's pinkie knuckle with the palm of his right hand and steps diagonally back with the right foot (Gaeshi). While he steps diagonally back to the right, he circles his left forearm (Jodan Uke) into the opponent's elbow (Hoshi) or forearm (Nagare). The defender uses the circular motion along with his hips to bounce his arm off of the opponent's arm and bring his left hand down at a diagonal angle into a thumb strike (Boshi Ken) to the opponent's chest (Kimon).The defender steps diagonally back to the left and uses his left hand to pull off the opponent's hand. After the hand is off, the defender kicks (Zenpo Geri) into the opponent's solar plexus (Suigetsu) with the right foot creating a Gyaku Jime. The defender swings his foot down from the kick to the rear and drops to his right knee while applying the outer reversal (Omote Gyaku). The opponent will land directly in front of the defender, so the defender can stomp into the opponent's ribs at the armpit (Wakitsubo) with the left heel. Most variations of Danshi resemble Omote Gyaku Tsuki except the thumb or fingers are driven down after the Jodan Uke. The purpose of this technique is to learn how to bounce the finger (i.e. the thumb) down into the target.

Reverse Flow (Gyaku Ryu/ Saka Nagare)

The defender is in Flat Stance (Hira no Kamae). The opponent steps forward with a right thrust (Jodan Tsuki). The defender steps diagonally back to the left, circles his right arm around, and receives the attack on the outside of the opponent's wrist (Uke Nagashi with no strike) with his right hand. The defender's right hand must stay with and cover the opponent's right fist. The opponent does a right kick (Zenpo Geri) at the defender's solar plexus (Suigetsu). The defender steps slightly forward to the left and moves either of his knees in a clockwise motion to receive the attack on the outside of the opponent's leg (Keri Kudaki). If the defender is far enough away, he can kick up into the opponent's attacking leg (Kobura) with the right foot. The defender takes the opponent's right hand with his left hand in preparation for an outer reversal (Omote Gyaku), raises the opponent's hand up high, and twists his upper body to the left so his center line (Hara) faces into the opponent. The opponent will believe the defender is open to attack because of his body position, but in reality the defender has moved this way purposefully and is ready to defend himself. The opponent takes the opening and does a left low-level thrust (Gedan Tsuki) toward the defender's solar plexus (Suigetsu). The defender uses his right arm to receive the attack low (Gedan Uke) and circles his arm around to do a right inner sword-hand strike (Ura Shuto Ken) to the opponent's right side neck (Amado) while applying the outer reversal (Omote Gyaku). As the opponent starts to fall, the defender takes the opponent's hand with his right hand. When the opponent is on the ground, the defender can finish with a left kick into the opponent's ribs at the armpit (Wakitsubo). A common variation is to use an outer sword-hand strike (Omote Shuto Ken) after the low-level receiving (Gedan Uke), because the right hand moves in the direction of the Gyaku and can take the opponent's hand easier. The purpose of this technique is to learn how to reverse the flow of the opponent's attack and to receive (Ukeru) on the outside of an attack.

The Settling Seagull (Keou)

The defender is in Flat Stance (Hira no Kamae). The opponent reaches out to grab the defender's jacket with both hands (Ryoute Mune Dori). The defender strikes down into the opponent's hands from above with the edge of his fist (Tsui Ken) or hands (Shuto Ken) while dropping his body weight and kicking up into the opponent's groin (Kinteki). The opponent steps forward with the right foot and attacks with his right fist (Jodan Tsuki). The defender steps diagonally back to the right and receives the attack with his left forearm (Jodan Uke). Immediately afterwards, the defender does a right inner sword-hand strike (Ura Shuto Ken) to the opponent's right temple (Kasumi) followed by a front kick (Zenpo Geri) with his right foot to the opponent's sternum (Kinketsu), ribs (Butsumetsu or Ura Kimon), or solar plexus (Suigetsu) to knock him down. When doing the strikes to the backs of the opponent's hands, the defender should do it as though he was a seagull flapping its wings.

Leaping Fire (Hane Bi)

The defender is in Flat Stance (Hira no Kamae). The opponent stands behind the defender, grabs the back of the defender's neck with the right hand (Katate Ura Kubi Dori), and prepares to kick with his right foot to the back of the defender's leg to take him down. The defender covers the opponent's hand with his right hand so his fingers wrap around the pinkie side onto the palm of the opponent's hand like in an inner reversal (Ura Gyaku) - the grip will be light and apply no pressure and the opponent's hand will not be in a full Ura Gyaku until after the defender turns around. As he covers the opponent's hand, the defender turns around to the left, lowers his hips, and receives low (Gedan Uke) with his left fist on the inside of the opponent's leg. When turning around, the defender moves his left foot first and then his right. After placing his left palm on the opponent's elbow, the defender rises up as he brings the opponent's hand overhead and then sinks back down as he brings the hand to the front of his body creating an inner reversal (Ura Gyaku). The defender can move his right foot forward when he sinks down so he remains in kamae. When the opponent resists in the direction of the inner reversal (Ura Gyaku), the defender switches his hands around, rises back up, and kicks (Zenpo Geri) the opponent in the ribs below the chest (Ura Kimon) while taking the opponent down with an outer reversal (Omote Gyaku). The purpose of this technique is for the defender to learn how to sink down and rise up like embers leaping from a fire.

Knocking Down the Imperial Palace (Ketou)

The defender and opponent begin in Number-One Stance (Ichimonji no Kamae). The opponent does a right kick (Zenpo Geri) at the defender's solar plexus (Suigetsu). The defender steps diagonally back to the left with the left foot, assumes a feeling of Flying-Bird Stance (Hicho no Kamae) and does a right kick up into the opponent's leg (Kobura). The opponent realigns himself and attacks low with his right fist (Gedan Tsuki) toward the defender's solar plexus (Suigetsu). The defender steps diagonally back to the right and receives low (Gedan Uke) with his left fist on the inside of the opponent's forearm. The defender does a claw strike (Shako Ken) to the opponent's face while doing a front kick (Zenpo Sokuyaku Geri) to the opponent's solar plexus (Suigetsu). When doing this kick, the defender places all of his body weight behind it and maintains that weight throughout the kick so that as the opponent falls, the defender stomps his body into the ground. The purpose of this technique is for the defender to learn how to kick as though he were kicking down a gate.

Finger Crusher (Yubi Kudaki)

The defender is in Flat Stance (Hira no Kamae). The opponent stands behind the defender and grabs the back of the defender's neck with the right hand (Katate Ura Kubi Dori). The defender turns around to the left, lowers his hips, and covers the opponent's hand so his fingers wrap around the pinkie side onto the palm like in an inner reversal (Ura Gyaku) except that the hand is more on the pinkie. When turning around, the defender moves his left foot first and then his right. The defender twists the opponent's hand palm up creating an opening as he turns around to the left so he can strike with his left thumb (Boshi Ken) into the opponent's ribs (Butsumetsu or Ura Kimon). The defender places his left hand on the opponent's elbow and rises up while lifting the opponent's arm in order to bring the opponent's arm over his head to the front of his body. Without stopping his movement, the defender sinks down causing the opponent's arm to create an inner reversal (Ura Gyaku). The defender uses his left fingers to wrap around onto the crease of the opponent's elbow and cause the opponent's arm to bend. Meanwhile, the defender changes the direction of the lock on the opponent's wrist so that he is bending the pinkie side of the opponent's hand directly toward the opponent's face. The defender also takes the opponent's pinkie with his right fingers so that he breaking the opponent's little finger while applying the lock. The defender steps forward with his right foot causing the opponent's arm to bend at a ninety degree angle while he raises the opponent's hand toward the opponent's nose. As soon as he steps forward with the right foot, the defender steps back with his left foot while dropping to a left knee and breaking the opponent's finger to bring the opponent to the ground and onto his back. When the opponent is down, the defender stands up and kicks in with the right foot to the opponent's ribs at the armpit (Wakitsubo). The purpose of this technique is for the defender to learn not only how to break the opponent's finger but also to control the opponent with nothing but his finger.

Locking Out the Vein (Ketsumyaku)

The defender is in Flat Stance (Hira no Kamae). The opponent comes from behind to apply a triangle choke (Sankaku Jime), or as it is known more commonly in America, a rear-naked choke. To do this, the opponent wraps his right arm around the defender's neck so the defender's throat is in the crook of the opponent's elbow. The opponent grabs his left bicep with his right hand and places his left palm on the back of the defender's head. The choke is called a triangle choke because the opponent applies pressure with three points simultaneously: the right bicep, the right forearm, and the left hand. The defender immediately lowers his hips, tucks his chin in, and uses his left hand to lightly take the opponent's right forearm or hand. The defender uses his right hand to grab onto the opponent's arm around the elbow and triceps while using his right thumb (Boshi) to dig into the bony nub on the inside of the opponent's elbow (Hoshi). The defender uses the pain from the grab to help raise the opponent's arm and alleviate the choke. This will create a slight opening. The defender throws the opponent by the arm with a shoulder throw (Ippon Seoi Nage) - the defender can drop to his left knee to make the throw easier. When the opponent is down, the defender stands up and kicks in with the right foot to the opponent's ribs at the armpit (Wakitsubo). The purpose of this technique is for the defender to learn how to stop the opponent from cutting off blood flow (i.e. Locking out the Vein) by causing pain and throwing the opponent.

Killing Lock (Sakketsu)

The defender is in Flat Stance (Hira no Kamae). The opponent comes from behind the defender and wraps both his arms around the defender's chest in a bear hug (Kannuki Jime). Before the opponent's hands clasp together, the defender lowers his hips by simultaneously thrusting backwards with his rear into the opponent's stomach, swinging the back of his head into the opponent's face, and raising his elbows to break the opponent's grip. This is a basic Body Escape (Tai Hodoki). The defender grabs the opponent's right fingers with his right hand. Afterwards, the defender steps to the right and strikes into the opponent's face with his left fist (Fudo Ken). The defender slides his left arm underneath the opponent's upper arm in an underhook near the opponent's shoulder (tip: use the hips and core to circle the arm into place as opposed to the arm moving by itself). The defender must be sure his shoulder is pulled forward slightly so the opponent will be unable to resist, and he must also make sure his hand is raised high into the air as if he were holding a large rock which will trap the opponent's arm in place. When the defender stepped out to the right, he should have positioned his left leg in the appropriate spot in front of the opponent's feet and on the opponent's center line. The defender steps to the left with his left foot, drops his body weight low, and knocks the opponent over like he is dropping a large rock (Ganseki Otoshi). When the opponent is down, the defender kicks in with the right foot to the opponent's ribs at the armpit (Wakitsubo). The purpose of this technique is for the defender to learn how to stop an opponent from squeezing him to death.

Hoof Fist (Teiken)

The defender is in Flat Stance (Hira no Kamae). The opponent comes from behind the defender and tries to perform a pinion lock (Hagai Jime) also known as a full-nelson by wrapping his arms underneath the defenders armpits and clasping his hands on the defender's neck. By using a body escape (Tai Hodoki), the defender prevents the opponent from attaining the lock. So, while squeezing his elbows toward the center of his chest and grabbing the opponent's fingers, the defender drops his hips, slams the back of his head into the opponent's face, and extends both his arms and the opponent's. When grabbing, the defender grabs the opponent's right hand with his right hand and the opponent's left hand with his left hand so his fingers wrap around the pinkie side of the opponent's hand and the thumbs push into the back of the opponent's hands. The defender circles the opponent's arms down, out to the side, and then high up overhead. When the opponent's hands are extended overhead, they will be turned up like in an inner reversal (Ura Gyaku). The defender steps out to the left with both feet, circling the opponent's left arm over his head. The defender uses this motion to lead the opponent forward slightly and bring his arms downward at a forty-five degree angle to the left. While creating this large circular motion with the opponent's arm, the defender lets go with his left hand and pulls the opponent's right hand back into his chest to throw the opponent with a one-handed throw (Katate Nage). When the opponent is down, the defender kicks in with the right foot to the opponent's ribs at the armpit (Wakitsubo). The purpose of this technique is for the defender to learn how to stop the opponent's lock and finish by stomping into the opponent with the same power as a kick from a bull.

 

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