NINJA SELF DEFENSE TECHNIQUES 🥷🏻‼️ How To use KOSSHIJUTSU in a FIGHT: Taijutsu Training

Watch "#SHORTS | ISHIZUKA SENSEI APPLIES DEVASTATING WRIST LOCK | INSIDE NINJUTSU" on YouTube

After kicking him in the face can jerk down on his wrist to break it as he falls back.

I'm usually on the camp of "Nezuko's mental age regression is a bad writing decision because it takes agency away from the sole female main character" - but after Tamayo's explanation that Nezuko traded consciousness for changing her biological makeup to co-exist peaceably with humans, I am forced to admit that as usual any writing decision in KnY I initially hate ends up lining up unexpectedly with the themes of the centrality of love.

The reason Nezuko is such a special demon is because Tanjirou's protection and guidance allowed her to become one.

Most demons focused on the day-to-day of feeding themselves, finding somewhere to rest, and fending off humans who wanted them dead. Nezuko is a rare demon who had the protection of someone else, so she could afford to sleep most of the time and change her biology. Only Nezuko could afford to trade so much of her consciousness away and to become so childlike, airheaded and defenceless because Tanjirou took care of the day-to-day for her. Unlike the other demons, she didn't have to always be on guard and live with an everyone-for-themselves mentality.

Nezuko was also able to not taste a single drop of blood because Tanjirou carried her away from their family's bodies (while trying to get her to a doctor) and was strong enough to hold her off until she got a grip. And only she lived past being discovered by a demon slayer, because Tanjirou defended her and she defended him. And when she did feel the urge to eat (Red Light District arc), Tanjirou was there to stop her.

Also very importantly, Nezuko's love for Tanjirou provided her a very strong motivation to stay in this sub-human state of consciousness for the long period necessary.

Most demons did not have a very strong reason to force themselves not to eat. Either they had no respect for humanity to begin with (Gyokko, Muzan, Spider Demon Ryu), or everyone they loved had died and they were subsequently in too much despair to put up a fight (Tamayo, a certain spoiler demon who was so suicidal that forgetting his loved ones ironically helped him live longer).

Meanwhile Nezuko really needed to return to being human, because her brother will not stop fighting demons otherwise. Regaining consciousness and convincing him to quit isn't an option for her because the demon slayers wouldn't let her live, and Tanjirou won't let her die. (And if he did, he would never recover from her death.) Like I don't know how much Nezuko thought this through, but Tanjirou's plan to shake information out of demons while trying to kill them is frankly terrible, while Nezuko's course of action to just change her biology was wildly successful lol. She had the better idea. Just as Tanjirou walked this long road for Nezuko, Nezuko did for Tanjirou.

Man, this is why I really love KnY. When the narrative said that nothing could break the bond between Tanjirou and Nezuko, when it said that love lets people exceed any reasonable expectation and achieve the impossible, they weren't just saying it. Everything has always been there, lying out in the open and waiting for us to realize it. Like, which other demon could spend so much time sleeping away so that they can change their biology. Only the little sister whose big bro is still alive and willing to take care of everything for her, and who herself loves him enough to achieve the impossible, of course.

Takamatsu Sensei Words of Wisdom #selfworth #facts #wisewisdom #selfcon...

Toshitsugu Takamatsu, often referred to as Takamatsu Sensei, was a renowned martial artist born on March 10, 1887, in Akashi City, Japan. He is particularly famous for being the last known heir to several ancient Japanese martial arts traditions, including Togakure-ryu Ninjutsu and Gyokko-ryu Kosshijutsu.

Takamatsu Sensei began his martial arts training at a young age, studying under various masters and receiving instruction in a wide range of combat techniques. He was known for his exceptional skill and deep understanding of traditional martial arts.

In addition to his prowess in combat, Takamatsu Sensei was also a spiritual and philosophical thinker, incorporating Zen Buddhism and other traditional Japanese philosophies into his martial arts practice. He believed in the importance of harmony and self-discipline, not just in physical combat but also in daily life.

Takamatsu Sensei's teachings and legacy were passed down to a select few students, including Toshitsugu Takamatsu's grandson, Masaaki Hatsumi, who became the current Soke (grandmaster) of the martial arts traditions associated with Takamatsu Sensei. Takamatsu Sensei's influence continues to be felt in the martial arts world, particularly within the ninjutsu and bujutsu communities.

¿Quién no conoce a Hatsumi Sensei? Es una leyenda de Ninjutsu de la era moderna, y además de ser un personaje, es un ser humano con un gran carisma y una gran personalidad. Producimos los dos primeros DVD´s del Taikai en Madrid, dedicados a la sección Wind del Gyokko Ryu Kosshi-Jutsu. ¡Hay mucho material y la dificultad aquí es saber qué eliminar! Hatsumi es un pozo de ideas, risas, aprendizaje continuo. No importa si practicas Ninjutsu, Karate o cualquier otro arte marcial, este hombre enseña la vida misma.

Encuentra el Mejor Material de Artes Marciales y Defensa Personal en:

https://bit.ly/2wnBd36

In Ninpo-taijutsu, the Ninja's self-defense method, the secret is to go beyond just learning the "moves." The idea is to be able to see and understand what each of your skills - regardless of whether it's a punch, joint lock, throw, or pressure point attack - is doing to your attacker. If you are to attain mastery in the art of Ninjutsu, then you must approach the idea of self-defense and combat from the perspective of "controlling the situation" - not just in winning the battle. This online ninja training lesson explores how to do just that with your body position alone! In fact, in the scrolls of the Gyokko Ryu ("Jade-Tiger School"), one of the nine ancient combat traditions that make up modern-day ninjutsu training, there is the lesson that... "You should face your opponent with the look in your eyes that says, "I can beat you with my kamae (posture) alone!"' This is a very different perspective from that held by most martial artists - students and teachers alike. In the world of conventional martial arts, stances and body positions are seen as the necessary evils that have to be learned to move on to the "cool stuff." They are seen as the launching point for the strikes, kicks, and other moves of that particular style. But, the ninja's self-defense system of Ninpo-taijutsu sees these positions as very different. The fact that they are not seen as static stances, but rather momentary "postures" taken up by the body to do certain, specific things, before disappearing back into the "void," should point the astute student to the fact that there is much more to the Ninja's kamae body postures than would first appear. The truth is that, while the Ninja combatant can, and does use his or her kamae as launching points for strikes and other techniques, this is only the beginning. A much deeper and more advanced application for these momentary poses is to control the perceptions, and therefor the decision-making abilities, of your opponent! While most martial artists, self-defense practitioners, and fighters think of control in a way that implies the use of force, the Ninja takes a different approach. In fact, the Ninja's approach is so far outside the proverbial box, that the attacker isn't even aware that they are being controlled. It all begins with the choice of, and use of the Ninja's kamae - "posturing." If you are to learn to effectively control a situation with the least amount of wear-and-tear on yourself... If you are to be able to manipulate your attacker into being an accomplice to his own butt-kicking... Then, you must be able to see what others cannot. Because, if you use the same tactics that everyone else is using, then everyone else will know what you're up to. And, if they know what you're doing, or trying to do... then they'll be waiting for your trick and have a really good chance of preventing you from succeeding. So, the Ninja selects his or her combat posture, both in response to the intended attack and actions of their assailant, but also to convince the attacker that certain things are true for the Ninja. Do you understand that? So, if you want to convince the attacker that you are afraid and trying to defend yourself from a stronger, better attacker, you would take up a position that "says" that. If you wanted to convince the attacker that you were going for a concealed weapon, you would choose a kamae that looks like you are doing just that. That way, you're opponent reads you body language, accepts what it shows as "true," and then begins to make decisions for attacking you based on those assumptions. He accepts what you are showing as reality. But, if you really understand how to combine the use of your kamae with the deeper, more advanced lesson of Kyojitsu Tenkan ho, "disguising truth and falsehood," instead of using your apparent weaknesses and opening against you...Your attacker would find that everything he believed was an illusion, as he falls right into your waiting technique. The idea is that by showing one thing, but planning another, you can use your ninpo-taijutsu body postures to control any self-defense situation, because you are, in reality, controlling the perceptions of your assailant!

Do You Mind?

Ninja Mind Sciences what does that mean to you? To many it means participating in guided meditation, reciting incantations/prayers or sitting quietly breathing and trying not to think.

Today we revisited the Gyokko ryu kata Koku from Thursday night's training.  The training of the kata today was through the lens of the ninja mind sciences. To fully understand you would have to watch the class but the main point of it is which goal is your mind focussed on. 

Are you focussed on the angle you have to move to? Are you focussed on the strike to the arm? Are you focussed on what your partner is doing? Are you connected to what is happening or in your head running a list of steps to do?

Did the off balance you create move them forward, backwards or have them hanging on the edge of a precipice? Did it create the next opening and space for the next move of the kata you are recreating? Are you in the position to move to the next step of the kata or do you have to adjust to achieve it?

The more specific your focus and intent on the outcome to the other person, the closer you come to achieving it. That was the mind science we worked on today. Oh and there were cookies too!

We look forward to training with you.

T

P.S. If you would like to learn more about Shinobi Science online or in person click below.

https://www.shinobimartialarts.com/

Koto Ryu

by Fane Hervey – Ninjutsu London

The ‘Tiger Knocking Down School‘ does not really have an exact origin. Like Gyokko Ryu, it is thought to have originated from China, being brought to Japan by a monk called Chan Busho, but when, or even if this is true, remains a mystery. This makes it hard to really tell what influenced it from a Chinese kung fu perspective. On one hand, the linear fashion of Kot…

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A Falcon, Gyokko Ryu’s Shunu and Micro Kihon

Last weekend the head of your dojo and I went to yet another seminar with a teacher known for his incredibly deep understanding of Japanese history and martial arts practice, Kacem Zoughari. Invited by the Cologne Dojo, he was giving a seminar on techniques from Gyokko Ryu, and the Japanese Spear, the Yari.

The weekend’s class was basically all about a certain type of movement, a structure and a movement pattern, namely the idea to move on the line from the side without making a circular movement. As some of you might remember, no more circular movement. This idea was then covered in almost ten hours of practice, first in detail against a draw, then against a tsuki and finally in a Yari kata which again was broken into smaller pieces to apply the aforementioned principle. Sounds simple. It is, but as I have stated various times, this little fact that a movement is simple does not mean that it is easy.

The kata we dealt with was Shunu from Gyokko Ryu. The idea of the kata is that while walking an enemy, who is approaching from the front, tries to cut us with his sword. The draw of his sword turns into his cut. To quote from Hatsumi-sensei’s book “Unarmed Fighting Techniques of the Samurai”:

“The opponent moves to draw the daito. Like a falcon, grab the opponent’s sword pommel with the left hand.”

Now, I do not know what you understand or picture in your mind if you are reading this, maybe you are unsure of what to do when a person attacks you in such manner, or maybe you are pretty sure of yourself, and that you are able to properly execute this kata. It does not sound too difficult, simply stop a person from attacking you by simply stopping his attack and turning his movement to your advantage. What is so damn difficult or challenging about grabbing a sword’s pommel, you might ask.

But let us stop here before things might get ugly, as in: Moving through a kata with our own preconceived notions of how we have to move our bodies, and possibly not understanding the idea behind the words – and therefore rendered absolutely unable to execute the kata realistically against any enemy who tries to have a literal slice of us, you and/or me. Nothing is as deadly as false security, executing a technique with a minor flaw in the movement might kill me for real in real life. This is beautifully and tragically portrayed in Joe Abercrombie’s trilogy about a young royal heir who is a cripple in a world of warriors very much resembling medieval northern Europe. In one of the books, I think it is Half A War, the current king and master swordsman fights the champion of the enemies in a duel of swords and it seems there might be a draw until he simply stumbles on a small stone. He gets killed because he lost his balance ever so slightly. A novel, I know. But most of us who are older than 30 know that such a depiction contains a certain ring of truth. Life can be a bitch and favours the prepared.

Before I delve deeper into the kata, which I will not – sorry - I’d rather focus on the words of the kata here and on what this little gem has to do with my own practice at home, with my homework as a student so to speak.

I am living in the countryside and therefore have ample opportunity to see the local wildlife if I want to: hedgehogs, rabbits and hares, foxes and wild boars, roe deer and birds of prey, among them the falcon mentioned in the kata. There are several different kinds of falcon in central Europe where I live – but all have a characteristic way of hunting for rabbits, mice and smaller game. Contrary to larger birds of prey such as the buzzard or the red kite, the falcon hunts differently. It is famous for the speed with which it kills its prey, the kestrel being one of the fastest animals on earth. A hunter once told me that there are cases at times when a kestrel simply suffocates because it is too fast and cannot stop the oxygen from entering its lungs. I never counter-checked it, but it is an interesting story nevertheless.

What I am getting at here is not speed, but the way in which the falcon hunts. He flies, observant of his surroundings, and when encountering prey he stops, and waits for the right moment to drop in a straight line. Death from above. The falcon literally falls out of the blue in a straight line after what it deems the perfect moment and timing to move in for the kill. Same holds true for the kata, like a falcon simply grab the pommel of the sword.

Again, this has nothing to do with speed but rather with a fluid, graceful and smooth motion. Speed might get you killed. Speed makes for unclean, choppy and a rather sloppy movement based on velocity and not precision. Alas, the mixing up of speed with effectiveness needs to be reserved for a future reflection.

The logical way of grabbing a pommel while the swordsman is actually drawing his weapon to kill me is not by simply moving forward and holding out my hand so that the base of the palm might be smashed by the pommel of a rather forceful draw. The hand and wrist make for messy wounds and even messier healing. Taijutsu skills or hospital bills. I would not stop a kick with an outstretched hand either, but if you choose to do so, feel free to do.

The logical way is to move in such a way that I can secure the pommel of the weapon and the enemy at the same time without sacrificing my own safety and well-being. Or as Kacem likes to point out, we should always use common sense.

This movement involves moving on a straight line, which is the shortest route between two points. Very much like a falcon in want of food. Being observant of my surroundings first, but when a situation deteriorates to the point that weapons might be involved, move like a falcon. And this involves moving in straight lines, not in circles. A cut from a sword might come from above or the side, intended to maim or kill us. There is no black eye when a blade is involved, no matter how big or small. I move straight in, or, as a falcon might do – I dive in, not head first but with the body as a synchronized unit.

The idea is to apply ichimonji. And this involves what the head of our dojo likes to call “micro kihon”. When the kihon happo are the eight basic forms, as they are often portrayed, the micro kihon is what actually puts together the kihon happo. Like a puzzle is made up from various different pieces that all fit together only in a certain way, this micro kihon is like the individual pieces of the puzzle.  The only difficulty is to be able to do them individually slow, smooth and with proper depth, and to keep it up when tying them together. Uke, Tsuki, aruki ashi without turning my upper body or looking like a duck. The body is on the line, moving ever so smoothly.

And this is what we all should be doing more of, smooth movement patterns. This is our collective homework, the stuff that needs to be discovered by ourselves. This can not be taught. You might think, that this can be taught – but I really do think that the secrets, the small and hidden things, these need to be discovered by all of us at home when refining our movements again and again and again. Our sensei, a teacher at a seminar, a friend we train with, they can only show us the corner around which we have to move ourselves. We need to put in the miles to be able to do the movement. But I am sure you already knew this.  

Watch "Bujinkan Dojo - Doron Navon - Gyokko Ryu Ganseki Otoshi - 1991" on YouTube

Ganseki otoshi

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