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Gyokko Ryu Kihon Happo Gata

The Fundamental Eight Forms (Kihon Happo Gata)

Kihon Happo form the foundation of Gyokko Ryu, Koto Ryu, and to a certain degree Togakure Ryu. The kihon happo contains movements used throughout the three sets of Kosshijutsu forms taught in Gyokko Ryu (Gyokko Ryu Kosshi Sanryaku). So, without a good foundation in Kihon Happo, studying the other kata is rather pointless. The Kihon Happo use a more circular movement compared with the Sanshin no Kata. This may be a result of the era in which the two sets of forms were created. It is theorized that the Sanshin no Kata was developed during an era when the primary weapons were the bow and spear, while the main weapon during the time of the Kihon Happo was the tachi and katana. Therefore, the footwork reflects the weapons of the time. With the Sanshin no Kata, both feet often point forward when striking and with the Kihon Happo the feet are often pointing perpendicular to each other. The Kihon Happo Gata are broken into two sets of forms: the Kosshi Sanpo Gata and the Torite Kihon Gata.

To practice these forms, one should be familiar with the following:

The Essential Three Forms (Kosshi Sanpo Gata)

While the Sanshin no Kata are five sets of movement forms, the Kosshi Sanpo Gata are three sets of striking forms. The Kosshi Sanpo Gata, also known as the Base Forms (Moto Gata), teach how to move and strike from the three fundamental stances (Sandan Kihon Kamae). Though the forms listed here are the right or outer (Omote) version, these forms are meant to also be practiced using the left or inner (Ura) versions of the stances.

Right Number-One Stance (Migi Ichimonji no Kamae)

The defender starts in Number-One Stance (Ichimonji no Kamae) with his right foot forward. The opponent attacks at a higher-level with a left thrust (Jodan Tsuki). The defender moves his left foot to the rear and circles it over to the left as he steps back with the left and right foot to receive at a higher-level (Jodan Uke). The Jodan Uke here should have a somewhat circular feel to the movement as though the defender is preparing to flank the opponent. The defender raises his left fist palm down in front of his forehead towards the end of the Jodan Uke. The defender steps diagonally forward to the left with the left foot and swings his right foot around to the rear, keeping his weight centered and moving in a circular motion the whole time. As he does this, the defender circles his right fist around as though he is brushing hair off his forehead with the back of his hand. Just before impact, the defender opens his fist striking with an outer sword-hand strike (Omote Shuto Ken) to the back of the opponent's right-side neck (Migi Yoko Kubusuji) with the same feeling as cutting diagonally down through the opponent's neck with a katana. The defender's center (Hara) should face into the opponent at the end of the strike. The defender finishes by stepping back into right Number-One Stance (Migi Ichimonji no Kamae).

Left Flying-Bird Stance (Hidari Hicho no Kamae)

The defender begins in Number-One Stance (Ichimonji no Kamae) with his left foot forward and raises his lead hand, changing to a feeling of Flying-Bird Stance (Hicho no Kamae) and tempting the opponent to strike at his ribs. The opponent steps in with a low-level thrust (Gedan Tsuki) with the right hand. The defender circles his right foot (and left foot slightly) over to the right so that he is at a forty-five degree angle from the opponent and in the path of the opponent's center line. While doing this, the defender raises his left foot to the back of his right knee (Hicho no Kamae) and circles his left hand down, receiving the attack with a hooking feeling (Gedan Uke). The opponent's fist will be slightly offline and the defender's knee will point directly down the opponent's center line acting like a barrier (Totoku). As soon as the defender sweeps the opponent's hand to the side, he kicks (Zenpo Geri) the opponent's solar plexus (Suigetsu) with his left foot. The defender places his left foot on the ground near the right foot, steps forward with his right foot, and strikes into the right side of the opponent's neck (Amado - more specifically: Migi Kubi Doumyaku) with an inner sword-hand strike (Ura Shuto Ken). The defender steps back with his right foot and finishes in Number-One Stance (Ichimonji no Kamae) or Flying-Bird Stance (Hicho no Kamae). In the notes of the current soke, it gives a description of Hicho no Kamae and then says take proper positioning (Kurai Dori). In order to take proper positioning - in other words, to use Hicho and attack the correct targets - the defender needs to move offline from the opponent's attack from the start. That is why the version given here may be slightly different from the one commonly seen in which the defender begins in Hicho no Kamae and performs the kata from there. The notes also give the title as Migi Hicho no Kamae, though the description is of the left side.

With this variation the defender really emphasizes the feel of Hicho no Kamae. The defender begins in Flying-Bird Stance (Hicho no Kamae) with his left hand drooping slightly as though his arm were a large wing. The opponent steps in with a low-level thrust (Gedan Tsuki) with the right hand. The defender drops his body weight, circles both hands down, and receives the attack using a hooking motion with the left forearm/wrist. The defender raises both arms up like he is a crane taking flight. At the same time, he rises up a little on the right leg and kicks into the opponent's ribs with the left foot. The defender sets his left foot down near his right foot and lowers his right hand into a fist above his forehead. The defender steps forward with his right foot and strikes into the right side of the opponent's neck (Amado) with an inner sword-hand strike (Ura Shuto Ken). The defender steps back with his right foot and finishes in Number-One Stance (Ichimonji no Kamae) or Flying-Bird Stance (Hicho no Kamae).

Right Number-Ten Stance (Migi Jumonji no Kamae)

The defender stands in Number-Ten Stance (Jumonji no Kamae) with his left arm on the inside. The opponent steps forward and attacks at a higher level with a left thrust (Jodan Tsuki). The defender steps to the left and slightly back at a forty-five degree angle with his left foot and allows the right foot to move with the left foot so he remains in kamae. The movement with the feet should have a feeling of making half a circle to the left. Also, the defender should hold his arms with a feeling of allowing the opponent to punch in between them so that when he moves, his arms stay in the same general vicinity though his body moves offline. When he moves, the defender circles his right fist (Uke Nagashi) into the opponent's elbow (Hoshi). The defender steps his right foot around to the right and swings his left foot around to the rear with a feeling of making a half-circle back the way he came. While making this step, the defender continues to circle his arm around from the Uke Nagashi and drives a right thumb strike (Boshi Ken) into the opponent's ribs (Butsumetsu). The defender immediately raises his right hand like a spear (Shishitan Ken) into the opponent's face as he begins to shift his weight back onto his left leg. The defender maintains a feeling of using his right hand like a shield (Totoku) as he leaps back with his right foot. As he brings his left foot back following the right, he positions his right arm behind the left and assumes Number-Ten Stance (Jumonji no Kamae) with the left foot slightly forward. The opponent steps forward and attacks at a higher level with a right thrust (Jodan Tsuki). The defender steps back slightly at a forty-five degree angle with the right foot and circles his left fist (Uke Nagashi) into the opponent's elbow (Hoshi). The defender then steps back to the left with his left foot and swings his right foot to the rear as he circles his hand around and drives a left thumb strike (Boshi Ken) into the opponent's ribs (Butsumetsu). The defender immediately raises his left hand (Shishitan Ken) into the opponent's face and steps back into Right Number-Ten Stance (Migi Jumonji no Kamae).

 

Fundamental Arresting Forms (Torite Kihon Gata)/ The Five-Methods of Arresting (Torite Goho)

The purpose of the Torite Kihon Gata is to teach five basic locks that are found throughout many different martial arts. There are five techniques in all and these are practiced on both sides bringing the total to ten. The exact five techniques are not always the same locks, because there are many variations that are interchangeable within the techniques. Technically, there are only two techniques, with all the rest being variations. These are known as Omote Gyaku and Ura Gyaku. Since Ura Gyaku is just the reverse of Omote Gyaku it could even be said that there is only one technique. The purpose of the Omote Gyaku is to affect the spine by bending it backwards and the purpose of Ura Gyaku is to affect the spine by bending it forward. Therefore, the overall purpose of the torite kihon gata is to affect the spine in one of these two ways. To bring the opponent back, Omote Gyaku affects the spine through the wrist; Musha Dori affects the spine through the elbow; and, Oni Kudaki affects the spine through the shoulder. To bring the opponent forward, Ura Gyaku affects the spine through the wrist; Muso Dori affects the spine through the elbow; and, Ganseki Nage affects the spine through the shoulder. Originally, these techniques had no names, instead they were referred to as one, two, three, etc. However, they are now known by the name of the lock/ throw that is performed in the technique.

#1 Omote Gyaku

First (Sono Ichi) - Outer Reversal (Omote Gyaku): The opponent does a single-handed grab to the center of the defender's chest at the lapel with the left hand (Katate Mune Dori). The defender defends himself by "Countering on the Outside of the Wrist (Omote Kote Gaeshi)." A good way to think of the following movement is as a reversal of creation. The universe began with emptiness (Ku) and was filled with the heavens (Ten) in which the earth (Chi) was formed, on which man (Jin) resides. So, Omote Gyaku can be broken down into four sets of movements Jin, Chi, Ten, and Ku.

The defender begins by moving horizontally on the plain of Man (Jin): As the opponent grabs, the defender places his right hand in a sword-hand (Shuto) shape underneath the opponent's fist so that the defender's palm applies a light but firm and constant pressure against the knuckle of the opponent's pinkie. The defender's elbow should point down. Starting at the defender's right hip, the defender twists in to the right as he steps diagonally back to the right at a forty-five degree angle and drops his body weight slightly. [This motion with the hips, shoulders, and feet all moving together is known as a Counter (Geashi). As an extra precaution, the defender can raise his left arm like a shield (Totoku) to cover the opponent's right hand. This is not always needed, because the space (Kukan) between the defender and opponent acts like a barrier (Totoku)].

The defender must now move low toward the Earth (Chi): The defender bends his knees so that his right knee is lower than the left and steps diagonally back with the left foot at a forty-five degree angle, beginning with his hips (Gaeshi). [While doing this, the opponent's weight will come forward onto his left leg, his wrist will start to naturally turn palm up/ bend inward, and his spine will start to bend, destroying his kamae. A good training partner (Uke) or skilled opponent will naturally step forward with the right foot when the defender takes this step in order to Flow Sideways (Yoko Nagare) to the left and prevent the wrist from being broken. Stepping forward will not prevent the defender from executing the technique, but it will require him to perform the movements correctly].

The third step is for the defender to rise to the Heavens (Ten): The defender uses his left hip to shoot his left palm up with a feeling similar to Earth Form (Chi no Kata). The left palm replaces the right palm and applies pressure to the opponent's pinkie knuckle while the right hand slides over to the right making room for the left hand. (The opponent's hand is now held by both of the defender's hands. The defender should not release pressure on the opponent's pinkie knuckle when he transitions his hands). While the left palm is being placed on the knuckle, the right fingers slide over onto the opponent's palm, but the right hand DOES NOT grab the opponent's hand. The defender uses the motion from his left hip, which allowed his left hand to be placed on the opponent's hand, to raise his body up slightly and lift the opponent's hand high overhead in an Outer Reversal Capture (Omote Gyaku Dori). (If the opponent's hand does not lift, this is okay too, because the lock can still be applied against the defender's chest). When the defender raises the opponent's hand, his arms will be nearly straight and the opponent's spine will be bent. The defender places his right thumb on the back of the opponent's hand (Omote). The position of the defender's left hand is not important so long as it applies pressure to the opponent's pinkie knuckle and allows the defender to lock out the opponent's wrist (Kote). 

Finally, the defender creates a void (Ku) in which the opponent can fall: The defender steps diagonally back to the right with his right foot at a forty-five degree angle using a final gaeshi motion to create a space (Kukan) for the opponent to fall in. While doing this, the defender rotates the opponent's hand to the right and then applies pressure at forty-five degree angle downward. Using the footwork, the defender lowers his arms while still keeping them straight and throws the opponent. A more painful method is for the defender to pull the opponent's hand in toward his core (Hara) as he steps and push the opponent's hand out as he shifts his body weight to the right. The densho passed on from Takamatsu does not have a set manner for taking the opponent down. It simply states to take the opponent's hand in Omote Kote Gaeshi. Therefore, the technique can be practiced without a take down or various take downs and throws can be applied.

Second (Sono Ni): This variation is the Left Technique (Hidari Waza).

#2 Omote Gyaku Henka

Third (Sono San) - Outer Reversal Variation (Omote Gyaku Henka): This is sometimes known as Outer Reversal Thrust (Omote Gyaku Tsuki). The opponent does a left single-handed grab to the lapel at the center of the defender's chest (Katate Mune Dori), steps forward with his left foot, and strikes at a higher-level (Jodan Uke) with his right fist. The defender places his right palm on the opponent's pinkie knuckle, steps diagonally back to the right (Gaeshi), and receives the opponent's attack with his left forearm (Jodan Uke). The defender lowers his body weight and steps diagonally back to the left with the left foot. Using the whole body, the defender places his left palm against the opponent's pinkie knuckle and raises the opponent's hand high overhead. The defender's right thumb is placed on the back of the opponent's hand and the fingers slide over the top of the opponent's palm. This is an Outer Reversal Capture (Omote Gyaku Dori) like in the last technique and should be done without a feeling of grabbing. The defender steps back with the right foot and takes the opponent down with an outer reversal (Omote Gyaku). Other than the opponent's Jodan Tsuki and the defender's Jodan Uke, this technique is the same as the last one. The defender must start the geashi and cover the opponent's hand as soon as the opponent reaches out to grab. If the defender remains in place long enough for the opponent to securely grab, he will get punched in the face before he ever has time to execute the Jodan Uke.

Fourth (Sono Yon): This variation is the Left Technique (Hidari Waza).

#3 Ura Gyaku

Fifth (Sono Go) - Inner Reversal (Ura Gyaku): The opponent does a left single-handed grab to the defender's chest (Katate Mune Dori). The defender must now do an Ura Kote Gaeshi. The defender places his right palm on the opponent's pinkie knuckle, steps diagonally back to the right (Gaeshi), lowers his body weight, and places the edge of his left hand in a sword-hand (shuto) on top of the opponent's wrist just below the thumb. Afterwards, the defender rises with his body and uses this motion to apply pressure to the opponent's pinkie knuckle as he steps diagonally back with the left foot (Gaeshi). When he steps back with the left foot, the defender drops his body weight low causing the opponent's hand to naturally turn pinkie-side upwards and fall into the defender's left hand with the wrist reversed (Ura Kote). The defender should do all of this effortlessly without using any force. The defender places his left thumb on the pain point in the web of the thumb (Kin) so that his fingers wrap around the pinkie side of the opponent's hand onto the palm. The defender holds the opponent's hand with his right hand. Then, while he walks straight forward, he twists the opponent's hand to the right and directs the fingers down, creating an inner reversal (Ura Gyaku) to throw the opponent to the ground and to break his wrist. When performing the wrist lock, the defender can switch to an Outer Reversal (Omote Gyaku) if the opponent resists the take down. [If the defender's position is bad or too close to the opponent before the take down is executed, he can reinforce the ura gyaku by using his elbow against the back of the opponent's arm just behind the elbow to create an arm-bar.]

Sixth (Sono Roku): This variation is the Left Technique (Hidari Waza).

#4 Musha Dori

Seventh (Sono Shichi) - Warrior Capture (Musha Dori): The opponent steps forward and grabs the defender's right triceps with the left hand (Katate Ude Dori). [The opponent could also do an Inner Grab (Kumi Uchi). When attacked with an Inner Grab (Kumi Uchi), the defender can create Musha Dori on either arm.]. The defender steps diagonally back at a forty-five degree angle with the right foot (Gaeshi) and raises his right forearm at a forty-five degree angle upwards on the inside of the opponent's arm with the back of the hand at the crook of the opponent's elbow. The defender steps back in with the right foot slightly on the outside of/ behind the opponent's left foot. While doing this, the defender keeps his right forearm against the opponent's with the back of the hand on the crook of the opponent's elbow so that the opponent's arm bends as he slides his forearm slightly forward and diagonally downward at a forty-five degree angle. This will destroy the opponent's posture and balance forcing him to lean slightly back and to the defender's right. The defender continues this motion of sliding his forearm forward and angles his hand toward the back of the opponent's right hip. It is important for the defender to maneuver the opponent's left elbow to the rear of the opponent's left hip. The defender swings his left foot back around to the left so that his hips are linear with the opponent's hips. As he does this, the defender rotates his right arm so the elbow points up and lowers his hips allowing the opponent's arm to bend fully at the elbow (His arm must stay in contact with the opponent's arm throughout the entire motion and the opponent's wrist/ upper forearm will slide into the defender's armpit). The defender begins to rise back up and raises his right hand, moving it toward the center of his chest and causing the opponent's elbow to point forward to the left (Musha Dori). This is also called a Reversed Arm Lock (Gyaku Ude Jime). The defender's hands can be in a variety of configurations so long as the overall essence of the technique is preserved. Generally, the hands are simply clasped together. When the technique is done correctly, the opponent's spine along with most of his body will be affected by the lock. In other words, the opponent will be off balance with most of his weight to the rear and his body position will prevent him from punching with the right hand. The defender raises his right foot and kicks (Take Ori) into either the back or side of the opponent's knee to either knock the opponent's leg out from under him or break the opponent's leg. If the leg is broken, the opponent's body weight will destroy his own shoulder.

Eighth (Sono Hachi): This variation is the Left Technique (Hidari Waza).

Capturing without Intention (Muso Dori): The opponent steps forward and grabs the defender's right triceps with the left hand (Katate Ude Dori). The defender steps diagonally back at a forty-five degree angle with the right foot (Gaeshi), lowers his body weight, and raises his right forearm at a forty-five degree angle with the palm up on the outside of the opponent's forearm toward the elbow. When the defender steps back, his chest should be flat against the opponent's arm (this is very important!). The left hand can be used as a shield (Totoku) during this movement. The defender lowers his weight even more before his body rises up and he pivots his upper body to the left. The defender should try to keep the opponent's arm in place against his chest during this movement and he should move his hips and shoulders together. When the defender's upper body is turned so that his center (Hara) is directed into the opponent, the defender lowers his body weight down again. All of this movement will cause the opponent's hand to turn up like in an inner reversal (Ura Gyaku) and bend the opponent over fully at the waist without the defender having to exert any force. The opponent's forearm will become trapped in the crook of the defender's elbow during the movement. The defender places the edge of his left or right hand in a sword-hand (Shuto) against the back of the opponent's upper arm just behind the elbow. The defender rotates that hand so it faces palm up, digging the edge into the arm and causing the opponent's elbow to fully extend. The defender clasps his hands together and steps back with his left foot, breaking the opponent's arm and taking the opponent face down to the ground. The defender can also drop straight down onto his right knee to break the opponent's arm without giving the opponent the option of rolling out of the technique.

#5 Ganseki Nage

Nineth (Sono Kyu) - Throwing a Large Rock (Ganseki Nage): The opponent steps forward and grabs the defender's right triceps with the left hand (Katate Ude Dori). The defender steps diagonally back at a forty-five degree angle with the right foot (Gaeshi), lowers his body weight, and raises his right forearm at a forty-five degree angle on the outside of the opponent's forearm toward the elbow. When the defender steps back, he should have a feeling of stepping back into Number-One Stance (Ichimonji no Kamae) and the left hand can even be used as a shield (Totoku). The defender drops his body weight and rotates his upper body to the left so that his core (Hara) is directed into the opponent. The opponent's arm will sort of fall into place with this motion. When moving, the defender must keep his shoulder pulled forward to keep the opponent from tearing his shoulder muscle if he doesn't move correctly. Simultaneously, the defender steps forward with the right foot next to the opponent's right foot, slides his right arm forward and up, and raises his left arm. When the defender steps in, he places his body firmly against the opponent's body so that all of the opponent's body weight becomes locked on the his right leg. The defender raises both hands above his head as though he is holding a large rock, which also traps the opponent's arm in place. The defender moves his shoulders and hips together as he rotates his upper body to the left. The defender must keep his back straight and not bend over. When doing this twisting motion, the defender should have a feeling of moving in Flat Stance (Hira no Kamae) - shifting his body weight from being forward on his right foot to the middle in Flat Stance (Hira no Kamae) and then over to his left foot. This will allow the defender to break the opponent's shoulder while throwing him to the ground.

Tenth (Sono Jyu): This variation is the Left Technique (Hidari Waza).

Crushing the Demon (Oni Kudaki): Oni Kudaki has many variations. Therefore, the version given here is a simple way of practicing an outer oni kudaki with a Torite Kihon Gata feel. The opponent steps forward and grabs the defender's right triceps with the left hand (Katate Ude Dori). The defender steps diagonally back at a forty-five degree angle with the right foot (Gaeshi), lowers his body weight, and raises his right forearm at a forty-five degree angle on the inside of the opponent's forearm to the left. When the defender steps back, he should have a feeling of stepping back into Number-One Stance (Ichimonji no Kamae) and swings his left arm up underneath the opponent's upper arm. The defender then swings his right foot forward behind the opponent's left foot and swings his left foot around so he is facing the same direction as the opponent. This will cause the opponent's arm to bend with the elbow pointing forward. The defender clasps his hand together with the right forearm on the inside of the opponent's wrist and his left forearm behind the opponent's upper arm. The opponent's arm will be trapped against the defender's body and between his arms. The defender can kick out the opponent's leg like in Musha Dori; swing his right foot back around to the right and take the opponent down onto his back; or, simply walk backwards until the opponent looses balances and falls, causing his body weight to break his own arm.

 

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