Schools
Bujinkan Budou
QUT Ninjutsu practices Bujinkan Budou Taijutsu. Bujinkan (武神館) is translated to 'Divine Warrior Hall' and the organisation was created by Hatsumi Masaaki, the Soke or Grandmaster of the Bujinkan. The Bujinkan was named after Takamatsu Toshitsugu, Hatsumi's teacher. Hatsumi considered Takamatsu to have divine martial skill, hence the Bujinkan represents a place to train divine martial arts. Budou (武道) means martial or military arts or skills. It is an umbrella term to describe all martial arts. Judou is Budou, Boxing is Budou, even marksmanship with a rifle on the range is Budou; any skill or art to do with warfare is considered Budou and this includes auxiliary and support skill-sets like logistics, intelligence and management (in a military sense).
Taijutsu (体術) means body methods or ways of moving the body. Any activity involving the movement of the body is considered taijutsu, running is taijutsu, dancing is taijutsu, tennis is taijutsu; it's a very broad definition.
Together, Bujiinkan Budou Taijutsu refer specifically to martial methods of moving the body in respect of the lineage of Takamatsu and Hatsumi.
The Bujinkan is a conglomerated organisation that incorporates the teachings of nine distinct martial arts lineages known as ryuuha or schools. These schools were founded hundreds of years ago in Japan and have survived the tests of time.
These ryuuha include:
- Kukishinden ryuu Happou Bikenjutsu (九鬼神伝流八法秘剣術)
- Shinden Fudo ryuu Dakentaijutsu (神伝不動流打拳体術)
- Takagi Yoshin ryuu Juutaijutsu (高木揚心流柔体術)
- Gyokko ryuu Kosshijutsu (玉虎流骨指術)
- Kotou ryuu Koppoujutsu (虎倒流骨法術)
- Gikan ryuu Koppoujutsu (義鑑流骨法術)
- Togakure ryuu Ninpou Taijutsu (戸隠流忍法体術)
- Gyokushin ryuu Ninpou (玉心流忍法)
- Kumogakure ryuu Ninpou (雲隠流忍法)
Kukishinden, Shinden Fudo, and Takagi Yoshin ryuu, incorporate many weapon and hand to hand combat techniques used by the samurai, sohei and youjinbou (bodyguards). Dakentaijutsu and Juutaijutsu are methods of unarmed fighting with or without armour. Kukishinden ryuu covers many weapons including the sword, spear and naginata (glaive).
Gyokko, Kotou, and Gikan ryuu also focus on close combat techniques. Kosshijutsu refers to muscle breaking techniques (strikes, blows, and throws designed to damage muscle and soft tissue) and Koppoujutsu refers to bone breaking and set-up techniques.
Togakure, Gyokushin, and Kumogakure ryuu are ninjutsu schools concerned more with strategy, tactics, information gathering, and espionage. Although these schools do have combat techniques, they mostly comprise of techniques and concepts for evasion and escape rather then pure combat and battle.
Together these 9 schools create a holistic training curriculum that cover many aspects of Japanese martial arts and give a student a wide variety of tools when it comes to combat and self-defense.
Below is a list of the schools (ryuuha) with their histories, purpose and techniques.
According to another source, a famous musician and authority on the history of music by the name of Mr. An of Xian in China, there was a woman by the court in Xian (which was the main residence of Tang-dynasty), who was very famous for her skills in dancing and martial arts. By the fall of Tang-dynasty, year 907, many people of high stations in society escaped from China to Japan. The name that is connected to the origin of Gyokko ryu in Japan is Yo (or Cho) Gyokko. It could have been introduced by a single person, but it also might have been a whole group.
The first formal grandmaster in Japan was Hakuunsai Tozawa, who appeared some time during the period of Hogen (1156-1159). How he got the title, and how he got knowledge of the system is unknown. But Gyokko ryu, which means "Jewel Tiger", is according to Dai Nippon Bugei Ryu Ha one of the oldest documented martial arts in Japan.
The system was brought on and kept alive during Kamakura, Nambuko and Muromachi period, by the Suzuki family. In the 16th century it came to the Sakagami family, and between 1532 and 1555, the methods were organized by Sakagami Taro Kuniushige, who called the system Gyokko ryu Shitojutsu. The next supposed grandmaster, Sakagami Kotaro Masahide, was killed in battle 1542. Because of this, the title was passed on to Sougyoku Kan Ritsushi (also known as Gyokkan Ritsushi). Sakagami Kotaro Masahide was also known as Bando Kotaro Minamoto Masahide, and he was supposed to be the grandmaster of Koto ryu koppojutsu as well. He was never registered in Koto ryu, and his name is only mentioned in some of the lists of Gyokko ryu grandmasters.
Sougyoku Kan Ritsushi, who either came from the Kishu area or belonged to Kishu ryu, renamed Gyokko ryu Shitojutsu to Gyokko ryu Koshijutsu. He had some students who, in the 18th century, founded different schools based on Gyokko ryu and knowledge from Sougyoku.
Below is a list of the schools (ryuuha) with their histories, purpose and techniques.
Gyokko Ryuu Kosshijutsu (玉虎流骨指術) - 'Jade Tiger School'
According to Kuden, the verbal tradition in Gyokko ryu, the system was developed in China during Tang-dynasty. There are two possible origins. Either there was a guard at the palace who developed the system after his small body, or it was developed by a princess. This is in accordance to the system of movement, which implies that it was developed by a physically smaller person.
According to another source, a famous musician and authority on the history of music by the name of Mr. An of Xian in China, there was a woman by the court in Xian (which was the main residence of Tang-dynasty), who was very famous for her skills in dancing and martial arts. By the fall of Tang-dynasty, year 907, many people of high stations in society escaped from China to Japan. The name that is connected to the origin of Gyokko ryu in Japan is Yo (or Cho) Gyokko. It could have been introduced by a single person, but it also might have been a whole group.
The first formal grandmaster in Japan was Hakuunsai Tozawa, who appeared some time during the period of Hogen (1156-1159). How he got the title, and how he got knowledge of the system is unknown. But Gyokko ryu, which means "Jewel Tiger", is according to Dai Nippon Bugei Ryu Ha one of the oldest documented martial arts in Japan.
The system was brought on and kept alive during Kamakura, Nambuko and Muromachi period, by the Suzuki family. In the 16th century it came to the Sakagami family, and between 1532 and 1555, the methods were organized by Sakagami Taro Kuniushige, who called the system Gyokko ryu Shitojutsu. The next supposed grandmaster, Sakagami Kotaro Masahide, was killed in battle 1542. Because of this, the title was passed on to Sougyoku Kan Ritsushi (also known as Gyokkan Ritsushi). Sakagami Kotaro Masahide was also known as Bando Kotaro Minamoto Masahide, and he was supposed to be the grandmaster of Koto ryu koppojutsu as well. He was never registered in Koto ryu, and his name is only mentioned in some of the lists of Gyokko ryu grandmasters.
Sougyoku Kan Ritsushi, who either came from the Kishu area or belonged to Kishu ryu, renamed Gyokko ryu Shitojutsu to Gyokko ryu Koshijutsu. He had some students who, in the 18th century, founded different schools based on Gyokko ryu and knowledge from Sougyoku.
In spite of the fact that two of the schools founded by Sougyoku Kan Ritsushis students went on to Takamatsu Toshitsugu and Hatsumi Masaaki, Gyokko ryu went it's own way along with Koto ryu. The schools went to Toda Sakyo Ishinsai and Momochi Sandayu I. After that, the schools remained in the Toda and Momochi families until Takamatsu, who was the last of the Todas to learn the arts, passed the schools to Hatsumi Masaaki.
It is thanks to the Toda and Momochi families' activities in the Iga province that the schools has come to belong to the local ninjutsu tradition, despite that the schools themselves were not really ninjutsu. Another connection in history is that Toda Shinryuken Masamitsu, Takamatsu's teacher and uncle, is said to be a descendant of Hakuunsai Tozawa's.
Toda Shinryuken Masamitsu taught Takamatsu that the most important thing is to study the techniques of Kihon Kata, also known as Kihon Happo, since they are the basis of all martial arts. This means that Kihon Happo covers all methods that are effective in real combat such as blocks, punches, kicks, breaking of wrists and elbows, and throws. The methods of Gyokko ryu are based on Koshijutsu (attacks against soft parts of the body). The strategy differs therefore very much from for example Koppojutsu, which concentrates on the bone structure.
While Koppojutsu motions goes in and out to come at right angles to the joints, Koshijutsu moves sideways, or around the attack, to get close to Kyoshi (the weak parts of the body). These targets can be nerve points, but also inner organs, or muscles and where the muscles are attached. One of the reasons for this system is probably because it was developed by a small person. The power in the counterattacks is therefore not generated by muscles, but by the hips and the spine. This is shown for example by the way of blocking, which concentrates on a powerful block to break the opponents balance, and thereby reaching the weak points of the body. An important detail in order to move close to the opponent, is that the back hand is always held in front of the face as a guard against counterattacks.
A frequently used body weapon in Gyokko ryu are the fingers and the fingertips. This is the reason for the earlier name Shitojutsu, which means techniques with the fingertips. Shitoken, also known as Boshiken, is the most common finger strike. This is a strike with the tip of the thumb, most often against where the muscles are attached or nerve points. The bone by the wrist is also a weapon, which is used for blocking, hits against Kasumi (the temple), etc. Another way of hitting is to push the knuckle of the middle finger in front of the other knuckles in a modified Shikanken. It is not only Boshiken that has another name in Gyokko ryu. Shutoken is called Kitenken, for example.
The thumbs are important in Gyokko ryu. It is mostly shown in the three official stances: Ichimonji no kamae, Hicho no kamae, and Jumonji no kamae, where the thumbs always are directed upwards. The reason is that the energy always should flow freely, and there should be no lockups in the movement. In Gyokko ryu it is important to protect the heart. Therefore a starting position with the right leg forward is preferred, so that the left side is turned away from the opponent. Shoshin no kamae, Doko no kamae — "Angry tiger", and Hanin no kamae are also said to belong to Gyokko ryu.
Gyokko ryu consists of several parts. First there is Kamae no kata (stances) and Taihen Kihon (falls). The next step is Ki kata, also known as Sanshin no kata. Ki kata teaches basic movements based on the five elements. These movements reoccur in all techniques in Gyokko ryu. After that comes Kihon kata and Toride Kihon kata, which are basic exercises for punches, kicks, blocks, grabs and throws. There are different statements on how many the exercises are, and which exercises that belongs. Usually there are three exercises for punches, kicks and blocks, and five or six for grabs and throws. The last are trained from both sides.
After all these basic exercises, you come to Koshijutsu. Koshijutsu is split in three main parts:
Joryaku no maki - Unarmed vs Unarmed
Churyaku no maki - Unarmed vs Tanto or Kodachi
Geryaku no maki - Unarmed vs Ken or Yari
Mutodori from Geryaku no maki are techniques against sword or spear and is considered to be the highest, and most difficult level of Gyokko ryu.
Gyokko ryu was, beside the Koshijutsu, also known for it's methods with Katana, Tanto and Bo. Except for some techniques with Bo, very much of this is unknown. More of this will probably be known, however, since Hatsumi Masaaki is releasing more information on the subject.
Even though Gyokko ryu can not claim to be a ninjutsu school, due to the lack of philosophy among other things, there is one saying that has followed the school: "Bushigokoro wo motte totoshi no nasu", which means "The heart of a warrior is precious and essential".
It is thanks to the Toda and Momochi families' activities in the Iga province that the schools has come to belong to the local ninjutsu tradition, despite that the schools themselves were not really ninjutsu. Another connection in history is that Toda Shinryuken Masamitsu, Takamatsu's teacher and uncle, is said to be a descendant of Hakuunsai Tozawa's.
Toda Shinryuken Masamitsu taught Takamatsu that the most important thing is to study the techniques of Kihon Kata, also known as Kihon Happo, since they are the basis of all martial arts. This means that Kihon Happo covers all methods that are effective in real combat such as blocks, punches, kicks, breaking of wrists and elbows, and throws. The methods of Gyokko ryu are based on Koshijutsu (attacks against soft parts of the body). The strategy differs therefore very much from for example Koppojutsu, which concentrates on the bone structure.
While Koppojutsu motions goes in and out to come at right angles to the joints, Koshijutsu moves sideways, or around the attack, to get close to Kyoshi (the weak parts of the body). These targets can be nerve points, but also inner organs, or muscles and where the muscles are attached. One of the reasons for this system is probably because it was developed by a small person. The power in the counterattacks is therefore not generated by muscles, but by the hips and the spine. This is shown for example by the way of blocking, which concentrates on a powerful block to break the opponents balance, and thereby reaching the weak points of the body. An important detail in order to move close to the opponent, is that the back hand is always held in front of the face as a guard against counterattacks.
A frequently used body weapon in Gyokko ryu are the fingers and the fingertips. This is the reason for the earlier name Shitojutsu, which means techniques with the fingertips. Shitoken, also known as Boshiken, is the most common finger strike. This is a strike with the tip of the thumb, most often against where the muscles are attached or nerve points. The bone by the wrist is also a weapon, which is used for blocking, hits against Kasumi (the temple), etc. Another way of hitting is to push the knuckle of the middle finger in front of the other knuckles in a modified Shikanken. It is not only Boshiken that has another name in Gyokko ryu. Shutoken is called Kitenken, for example.
The thumbs are important in Gyokko ryu. It is mostly shown in the three official stances: Ichimonji no kamae, Hicho no kamae, and Jumonji no kamae, where the thumbs always are directed upwards. The reason is that the energy always should flow freely, and there should be no lockups in the movement. In Gyokko ryu it is important to protect the heart. Therefore a starting position with the right leg forward is preferred, so that the left side is turned away from the opponent. Shoshin no kamae, Doko no kamae — "Angry tiger", and Hanin no kamae are also said to belong to Gyokko ryu.
Gyokko ryu consists of several parts. First there is Kamae no kata (stances) and Taihen Kihon (falls). The next step is Ki kata, also known as Sanshin no kata. Ki kata teaches basic movements based on the five elements. These movements reoccur in all techniques in Gyokko ryu. After that comes Kihon kata and Toride Kihon kata, which are basic exercises for punches, kicks, blocks, grabs and throws. There are different statements on how many the exercises are, and which exercises that belongs. Usually there are three exercises for punches, kicks and blocks, and five or six for grabs and throws. The last are trained from both sides.
After all these basic exercises, you come to Koshijutsu. Koshijutsu is split in three main parts:
Joryaku no maki - Unarmed vs Unarmed
Churyaku no maki - Unarmed vs Tanto or Kodachi
Geryaku no maki - Unarmed vs Ken or Yari
Mutodori from Geryaku no maki are techniques against sword or spear and is considered to be the highest, and most difficult level of Gyokko ryu.
Gyokko ryu was, beside the Koshijutsu, also known for it's methods with Katana, Tanto and Bo. Except for some techniques with Bo, very much of this is unknown. More of this will probably be known, however, since Hatsumi Masaaki is releasing more information on the subject.
Even though Gyokko ryu can not claim to be a ninjutsu school, due to the lack of philosophy among other things, there is one saying that has followed the school: "Bushigokoro wo motte totoshi no nasu", which means "The heart of a warrior is precious and essential".
October 1995:
by Peter Carlsson; Contributed by Mats Hjelm
Gyokko ryuu uses long distance to avoid attacks and break down the opponent. Many sources claim that Gyokko (玉虎) means 玉 (gyoku - jewel) and 虎 (tora - tiger), but my research suggests that 玉 actually refers to 'Jade' rather then jewels. The kanji 玉 in Chinese means jade and if the history of Gyokko ryuu is accurate, then the founder's title or nickname was 玉虎 (gio̍khó͘) or Jade Tiger. Jade was often associated with royalty or the court and was often used in names and titles concerning royal persons.
Gyokko ryuu and Koto ryuu are closely related and feel like two sides of the same coin. The idea of Inyou (陰陽 - yin and yang) is often applied when thinking about Gyokko and Koto ryuu. In practice Gyokko ryuu feels wide and extended, keeping the opponent at range and striking from angles the opponent can't protect themselves from. Gyokko techniques will often move to the left or right of the opponent and break down the muscles of limbs before moving in to strike the head or neck. Gyokko ryuu is kosshijutsu or a muscle breaking style of martial arts. Gyokko uses strikes to muscles and nerve clusters to weaken an opponents posture and balance, whereas Koto ryuu attacks the skeletal structure directly. Trained together, Gyokko and Koto ryuu are an overwhelming force of strikes to both the muscles and bones, breaking the opponent down and crushing them.
Gyokko ryuu is akin to a tiger fighting another tiger, whereas Koto ryuu is closer to a tiger hunting prey. This analogy alludes to facing opponents with different skill levels, although Gyokko ryuu will work on low skilled opponents, its purpose is more suited to facing equally or higher skilled opponents.
Gyokko ryuu is organised into three levels, Jyouryaku (上略), Chuuryaku (中略) and Geryaku (下略). Each level contains a series of techniques, working around a certain theme. Jyouryaku techniques are close combat techniques against unarmed opponents; Chuuryaku techniques deal with close combat and the kodachi (小太刀 - short 'long' sword); while Geryaku deals with mutodori (unnarmed against weapons) and the daishou (大小 - short and long sword).
The Kihon Happou is also derived from Gyokko ryuu and builds the foundation for many other techniques and movements found in other schools of the Bujinkan.
Jyouryaku no Maki - 上略之巻
Kokuu (Empty void) - 虚空
As the attacker, launch into the strike without overextending. Follow up with a thrusting kick to the upper legs to break the balance.
The opponent attacks with a right strike. Block the attack with the left arm and strike down with a shuto to the hoshi (anterior interosseous nerve under the flexor pollicis longus muscle) of the opponent's arm. The opponent then attacks with a right kick. Kick up to the opponent's leg with the left leg, then thrust into the opponent's butsumetsu (axillary nerve) with a left boshiken. Assume zanshin.
一切の事物を包容してその存在をさまたげない無為法。・
Renyou (Aristocrat's palanquin) - 輦輿
As the attacker, strike to the face of the defender and follow up with a kick. As the kick is swept to the left, reach out and grab the defender by the lapel.
The opponents attacks with a right strike. Block the strike with the right arm on the outside. When the opponent kicks, sweep the kick aside with the right leg. As the opponent grabs the left lapel, cover with the left hand and ura shuto to the neck. Apply an ura gyaku to the opponents hand with the right hand, while applying pressure to the elbow with the left hand. As the opponent tries to stand up, apply an omote gyaku to the wrist and kick to the chest. Assume zanshin.
Danshu (Snapping the Hand) - 彈手
As the attacker, grab the wrist or sleeve and pull the opponent into you while punching to their throat, neck or face.
The opponent grabs the wrist and punches. At the same time, turn the wrist to the right to apply an ura gyaku and block the strike with the left arm. Strike to the left side of the neck (amedo) with a shuto and grab the opponents left wrist with the left hand. Apply takeyori to the wrist while you kick down on the opponents rear knee. Bring the opponent to the ground and kick to the chest. Assume zanshin.
Danshi (Snapping the Finger) - 彈指
Renyou (Aristocrat's palanquin) - 輦輿
As the attacker, strike to the face of the defender and follow up with a kick. As the kick is swept to the left, reach out and grab the defender by the lapel.
The opponents attacks with a right strike. Block the strike with the right arm on the outside. When the opponent kicks, sweep the kick aside with the right leg. As the opponent grabs the left lapel, cover with the left hand and ura shuto to the neck. Apply an ura gyaku to the opponents hand with the right hand, while applying pressure to the elbow with the left hand. As the opponent tries to stand up, apply an omote gyaku to the wrist and kick to the chest. Assume zanshin.
Danshu (Snapping the Hand) - 彈手
As the attacker, grab the wrist or sleeve and pull the opponent into you while punching to their throat, neck or face.
The opponent grabs the wrist and punches. At the same time, turn the wrist to the right to apply an ura gyaku and block the strike with the left arm. Strike to the left side of the neck (amedo) with a shuto and grab the opponents left wrist with the left hand. Apply takeyori to the wrist while you kick down on the opponents rear knee. Bring the opponent to the ground and kick to the chest. Assume zanshin.
Danshi (Snapping the Finger) - 彈指
As the attacker, grab the lapel and strike with the opposite hand in fudouken. Pulling or driving the tori into the attack is acceptable.
The opponent grabs the lapel and strikes with opposite hand to the face. Shift back and deflect the strike applying omote gyaku to the grabbing wrist. Follow up with a strike to the chest with shitouken then kick to the opponents lead leg with the rear leg, applying gyaku shime to the wrist and throwing them to the ground, kick to the chest. Assume zanshin.
Gyakuryuu (Counter-current) - 逆流
As the attacker, strike with a migi joudan tsuki followed by a migi gedan keri. Anticipate the keri kaeshi and pull the leg back to hichou, then strike with a hidari gedan tsuki to the opponent's suigetsu.
The opponent strikes with a hidari joudan tsuki. Deflect with migi ichimonji and open the legs to encourage a keri. When the uke kicks with a hidari geri, use keri kaeshi to deflect. The uke draws the keri back to avoid the keri kaeshi and immediately strikes in with a migi gedan tsuki, deflect with a migi gedan uke and apply gyakudori to the wrist, while striking to the uke's hidari amedo with a migi shutou.
Keo (Exposed Seagull) - 梟鷗
As the attacker, grab both the opponent's lapels with the left leg forward. As the opponent goes to strike, shift back and avoid the attack then immediately strike in with migi joudan tsuki.
When the opponent grabs both lapels, strike down with both hands in fudou ken and kick up to the gedan with the right leg. When the opponent evades and returns with a left migi joudan tsuki, deflect with a left joudan uke and come in with a right ura shutou to the kasumi followed immedietly with a joudan keri to the chest or leg.
Hanebi (Leaping Fire) - 跳火
As the the attacker, grab the back of the opponent's collar or neck. Kick to the rear of the pelvis and pull backward.
The uke grabs the back of the collar or neck. Drop the hips and twist the body, while reaching back and grabbing the hand. When the uke kicks in, gedan uke to the outside of the uke's kick and execute a gyaku on the wrist. Kick into the opponent's kimon and cause them to fall down. Assume zanshin.
Ketou (Toppling the Palace Gate) - 闕倒
As the attacker, assume ichimonji no kamae, shift in slightly and kick to the opponent's pelvis. As the opponent counters, pull the lead leg back in joudan hichou and follow with a strike to the face.
Assume ichimonji no kamae, when the uke shifts in, shift the lead leg back and kick up to the opponents lead leg/rear leg/groin. Deflect the uke's strike with joudan uke, strike to the uke's face with shako ken and kick the uke's chest to knock them down. Assume Zanshin.
Yubi Kudaki (Breaking the fingers) - 指砕
As the attacker, grab the opponent's collar or neck and pull them back kicking to the back of the leg.
Shift forward as soon as the uke's hand touches the neck or the collar. At the same time strike back to the uke's face. Let the strike flow into oni kudaki and pull the uke down. Kick to the butsumetsu and break the fingers. Assume Zanshin.
Ketsumyaku (Tightening Hope) - 締脈
As the attacker, kick into the back of the opponent's knee. As the opponent falls backward, wrap the lead arm around the opponent's neck, then bring the rear arm across the back of the opponent's neck to create a sankaku jime.
When the uke's arm comes around your neck, bring both hands up to hold the uke's arm. Shift the hand closest to the elbow joint and apply pressure with the thumb. Drop into the crook of the uke's arm, regain posture and throw with seoi nage. Kick into the kimon. Assume zanshin.
Sakketsu (Killing Lock) - 殺締
As the attacker, wrap your arms around the tori and grip your wrist to create a strong hold.
The uke wraps their arms around you and tightens. Drop the hips the shift them forward while bringing the hands up to grab the uke's hands, strike back into the uke's pelvis to loosen the grip. Shift the body forward and strike back with the elbow or arm into the uke's face. Use the uke's hands to throw them with ganseki otoshi. Kick to the kimon. Assume zanshin.
Taiken (Hoof Fist) - 蹄拳
As the attacker, bring the arms through the tori's armpits and apply pressure to the top of the head with both hands. This is hagai jime.
As soon as the uke's arms are felt, drop the elbows to capture the uke's arms. Grab the uke's hands with both hands and apply pressure with the thumbs to the back of the uke's hands. Drop the hips and slip out to the side, apply kata te nage and kick to the kimon with the foot. Assume zanshin.
Kotou ryuu Koppoujutsu (虎倒流骨法術) - 'Tiger Felling School'
According to kuden (oral tradition), koppojutsu originated in ancient China. It was brought to Japan by the monk Chan Busho, who was born in what is now present day Korea. (Author's note: For those readers interested in the little known subject of ancient Korea's influence on Japanese culture, the book Korean Impact On Japanese Culture by Dr. Jon Carter Covell and Alan Covell is a good place to start.)What type of monk was Chan Busho? The traditions are not clear. However, his name does have some interesting linguistic relationships. In Chinese, Chan means "Name of Wind". That is, the name and mind being substance. The more popular claim that Chan translates into Japanese as "Zen" is actually a misinterpretation. However, like many such mistranslations, once it gains a certain amount of popular acceptance, there is little one can do except point out the original error and accept the fact that most people will not want to be confused by the facts. The name Busho is very close to the Japanese word "Busho", which means Buddhist scripture. Thus there is a fair case that Chan Busho (or who ever took koppojutsu to Japan) was a Buddhist.
Given the nature of Koto ryu techniques and taking into account some of the current Chinese martial arts, a fair case for some connection between the two could be made. An example of the Buddhist teachings can be seen from the following quote taken from the writings of Takamatsu Toshitsugu:
"No one possesses the knowledge concerning the events of tomorrow. This means that we do not know when our life will cease. However, you should never be surprised by any kind of happening. Whether a change in the cosmic process occurs, a cutting action is attempted by an opponent or natural catastrophes take place, you should never feel such a thing as surprise. This is the spirit of Banpen Fugyo."
While these teachings may at first sound somewhat simple, they can take years to realize in actual living. The history of Koto ryu has it that the techniques were passed down from Busho through several generations until the teachings reached Sakagami Taro Kunishige in the mid-l500's. From here, the ryu was passed down to the famed ninja leader Momochi Sandayu. The ryu stayed in the Momochi family for a number of generations until it passed to the Toda family. Toda Seiryu Nobutsuna was the first Toda family grandmaster of Koto ryu and he headed the system from 1624 A.D. to 1644 A.D. From the Toda family, the system passed down to Takamatsu Toshisugu and into the modern world. The teachings of Koto ryu are organized on the usual ancient Japanese system of Shoden, Chuden, Okuden and Hiden. Although there is some relationship between each level of the techniques, each group has its own important points.
An interesting aspect of Koto ryu is that the techniques would work against a man dressed in modern clothing or armor of the type worn in ancient Japan. This reflects the fact that although the ancient ninja are often associated with the practice of espionage, a number of them saw action on battlefields of old Japan. Another interesting aspect of Koto ryu is that the concepts and techniques greatly compliment the ideas and techniques contained within Gyokko ryu.
The Kihon Waza of Koto ryu contain such basic techniques as rolling, hitting, jumping, and proper body conditioning. This last, that each ryu has its own conditioning associated with it, is often overlooked.
The Shoden Gata is contained in 18 methods. These methods deal with a variety of attacks and show the proper use of such striking techniques as kicks, head butts and different strikes with the hands. While on first examination, these techniques look fairly simple and straight forward, they are not, because of the number of situations under which they can be used. It should be noted that the Koto ryu has its own system of attacking the various weak points of the body and the study of how to match the proper body weapon to the point of what is being attacked is a rather wide area of study.
According to the book Dai Nippon Bugei Ryu Ha, the following provides an outline of the history of the Koto ryu. The names listed are those of the grandmasters of the system. There were, of course, a number of famous ninja and samurai trained in the techniques of the Koto ryu. For example, the famous ninja Ishikawa Goemon learned ninpo from his master, Momochi Sandayu. Goemon is best remembered for his role as Japan's "Robin Hood". Goemon also attempted to kill the famed leader Hideyoshi, but without success. According to popular legend, Goemon was eventually executed for his activities (a common fate for many at that time) but other Kuden states that he escaped this fate.
As mentioned earlier, the exact origin of koppojutsu is lost somewhere in the mist of ancient history. The techniques of the ryu were reorganized by Sakagami Taro in 1542 A.D. The man who was to become second headmaster of the ryu, Bando Kotaro Minamoto Masahide was killed in battle later in that same year. This event resulted in the ryu being passed to Sougyoku Kan Ritsushi.
While it is true that the techniques that were to become Koto ryu were brought to Japan from China, there is ample evidence that the teachings and techniques that were named "Koto ryu" at a much later date actually originated in ancient India where it was called "karanai". At that time, these techniques (actually what today is called koshijutsu and koshijutsu) were considered to be practically "miracle" techniques because these techniques enabled one to easily control or defeat an enemy with almost no effort.
When these techniques were imported into China (probably during the fall of the Han dynasty) it was part of the information flow that brought Buddhism into China from India. Although it would be nice if it were possible to narrow this transmission down to one man (much like is done by modern kung fu salesmen), there is really little reason to believe that these techniques were the property of just one individual. Granted they were not (and still are not) common knowledge, but they probably were changed, improved and adapted in China before they ever actually got to Japan.
Once this knowledge arrived in Japan, it was further developed and even today there is a continued process of change and development taking place. Once in Japan, the teachings of koshijutsu and koshijutsu quickly became the property of an elite group of families. Often, only one person in each generation was taught these techniques.
In the stream of martial arts that is today known as ninjutsu, the historic development of the fighting arts shows that the oldest of the taijutsu arts is koshijutsu (e.g. Gyokko ryu). This was followed by the development of an independent form of koppojutsu (e.g. Koto ryu) and this was followed even later by a system of koppojutsu based on the earlier systems. That is that the later Gikan ryu koppojutsu was a direct outgrowth of the teachings of Gyokko ryu and Koto ryu.
November 1995:
by Peter Carlsson
Kotou ryuu in practice feels strong and compact, like a tense cat about to spring or explode into action. Koto ryuu, like Peter Carlsson points out, is called by the older name of koppoujutsu (骨法術), which are methods of breaking down not only the bones, but skeletal structure of the opponent. Kotou ryuu shares a close relationship with Gyokko ryuu (Jeweled Tiger school), as it was formalised into a ryuuha in the 15th century by Sakagami Taro Kunishige, the Soke of Gyokko ryuu kosshijutsu.
Here is a video of what Kotou ryuu techniques and practice look like in the Bujinkan by Shihan Duncan Stewart, Bujinkan Tasmania Dojo.
Kotou Ryuu Koppojutsu Kurai Dori - 虎倒流骨法術位取り
Migi Seigan no Kamae (True eye posture) - 右青眼之構
Facing the opponent, have the right hand straight out in seigan (青眼), pointing at the opponents eyes with a Fudouken (不動拳); keep the left hand at the shoulder in Kitenken (起転拳). Keep the legs separated with the right foot pointing at the opponent and the left leg and foot at a 45 degree angle back.
Hidari Seigan no Kamae (True eye posture) - 左青眼之構
Facing the opponent, have the left hand straight out in seigan (青眼), pointing at the opponents eyes with a Fudouken (不動拳); keep the right hand at the shoulder in Kitenken (起転拳). Keep the legs separated with the left foot pointing at the opponent and the right leg and foot at a 45 degree angle back.
Hira Ichimonji no Kamae (Balanced straight line posture) - 平一文字之構
Facing the opponent, stretch both arms out to the side in Kitenken (起転拳) while lifting one leg (migi or hidari) in Hichou (飛鳥).
Hoko no Kamae (Encircling posture) - 抱圍之構
Drop the hips and open the hands facing forward. This posture has the feeling of jumping forward with both hands and feet.
Bobi no Kamae (Defensive posture) - 防備之構
Facing the opponent, have the lead hand straight out with Kitenken (起転拳). Place the rear hand at the hip in Fudouken (不動拳).
Shoden Gata - 初伝型
Yokutou (Eliminating throw) - 抒投The uke grabs the right lapel and left elbow to engage in a throw. The reason the uke grabs in this way is to stop the tori from drawing a weapon with his right hand.
The uke grabs the left lapel and right elbow. Lock down the opponents foot with the right foot and at the same time thrust into the yugasumi kinketsu (great auricular nerve along the sternocleidomastoid muscle) with a boshiken, during this movement shift the left leg behind in line with the right leg. With the right leg, thrust up to gedan (pubic symphysis), cross step with sokushin sokuhou, then step over the cross-step to realign the body. With the left palm, thrust into gankotsu (symphysis mandibular).
相手方が片袖片胸を捕り来る。・Come to take the opposite side of the sleeve and chest.
一、右手母指先で夕霞禁穴を突き上げる。・With the right hand thrust the thumb into the yugasumi kinketsu (area below the ear and behind the jaw).
二、右足腔にて下段を突き上げる。・With the right leg push up to the lower body cavity.
三、左手掌にて合骨を突き上げ、倒す。・With the palm of the left hand, thrust into the gankotsu (chin) and knock down.
Ougyaku (Sealing Oppression) - 押虐
The uke grabs the left elbow and engages with a right koshinage.
The uke attacks with koshinage (腰投 - hip throw). Drop centre of gravity and drive into the shichibatsu (where the sciatic nerve meets the hip) with the left hand, while at the same time covering the hip with the right hand. With a right fudoken, strike into the opponent's butsumetsu (axillary nerve), then knock them down.
Kouyoku (Resistant Elimination) - 抗抒
The uke strikes with a migi jodan tsuki.
The opponent attacks with a migi jodan tsuki. Shift slightly back while deflecting the strike with the left arm and then shift forward with a niouken to the omote kimon (serratus anterior), then bring the left arm underneath the opponents right armpit and throw with a hidari seoi nage.
Shitou (Extended felling) - 拡倒
The uke grabs both lapels to throw, push or unbalance the opponent.
The opponent grabs both lapels. Cover the left hand of the opponent and strike to the opponent's kasumi (Sphenoid bone) with the right fist in a koppoken (骨法拳). Take the opponent's left hand in an omote gyaku and throw. After the koppoken the right hand can come over the opponents right grabbing arm and lock it down with the elbow or armpit, or it can come under the opponent's right arm locking with the elbow.
Hosoku (Capture and Seize) - 捕捉
The uke grabs the lapel and pulls the tori into a joudan tsuki.
The opponent grabs the (left) lapel and strikes with a migi joudan tsuki. Deflect the jodan tsuki with migi jodan uke, then strike to the opponent's hidari koe with the left hand in boshiken. Strike with kikakuken to the opponent's menbu.
Hoteki (Scoop and Throw) - 放擲
Ougyaku (Sealing Oppression) - 押虐
The uke grabs the left elbow and engages with a right koshinage.
The uke attacks with koshinage (腰投 - hip throw). Drop centre of gravity and drive into the shichibatsu (where the sciatic nerve meets the hip) with the left hand, while at the same time covering the hip with the right hand. With a right fudoken, strike into the opponent's butsumetsu (axillary nerve), then knock them down.
Kouyoku (Resistant Elimination) - 抗抒
The uke strikes with a migi jodan tsuki.
The opponent attacks with a migi jodan tsuki. Shift slightly back while deflecting the strike with the left arm and then shift forward with a niouken to the omote kimon (serratus anterior), then bring the left arm underneath the opponents right armpit and throw with a hidari seoi nage.
Shitou (Extended felling) - 拡倒
The uke grabs both lapels to throw, push or unbalance the opponent.
The opponent grabs both lapels. Cover the left hand of the opponent and strike to the opponent's kasumi (Sphenoid bone) with the right fist in a koppoken (骨法拳). Take the opponent's left hand in an omote gyaku and throw. After the koppoken the right hand can come over the opponents right grabbing arm and lock it down with the elbow or armpit, or it can come under the opponent's right arm locking with the elbow.
Hosoku (Capture and Seize) - 捕捉
The uke grabs the lapel and pulls the tori into a joudan tsuki.
The opponent grabs the (left) lapel and strikes with a migi joudan tsuki. Deflect the jodan tsuki with migi jodan uke, then strike to the opponent's hidari koe with the left hand in boshiken. Strike with kikakuken to the opponent's menbu.
Hoteki (Scoop and Throw) - 放擲
The uke grabs the lapel and pulls the tori into joudan tsuki.
The opponents grabs the (left) lapel and strikes with migi joudan tsuki. Deflect the joudan tsuki with hane age shutou, then grab the wrist fingers facing down with the right hand. With the left hand, slide up the opponents arm and grab above the elbow while twisting the arm clockwise. Drop to one left knee and throw.
Shatou (Oblique Felling) - 斜倒
The uke grabs the lapel and pulls the tori into joudan tsuki.
The uke grabs the (right) lapel and strikes with hidari joudan tsuki. Deflect the joudan tsuki with joudan uke, strike to the yugasumi kinketsu (with koppou ken or shitou ken) and immediately follow up with a kick to the uke's gedan.
The opponent grabs the chest with both hands. Strike down to the opponents hands with Niouken (仁王拳) and shift back. Kick up to the opponents Gorin (五輪 - five points around the umbilicus) with the rear leg, then knock him down.
Sakugeki (Crushing (an) Attack) - 搾撃
The uke grabs both of the tori's lapels.
The uke goes to grab both of the tori's lapels, but the tori evades the grab by shifting back and strikes up to the asagasumi with a right boshiken while covering the the uke's right hand with the left hand. Cross-step in with sokushin sokuhou to the right and kick to back of the uke's knee on his leading leg.
Tangeki (Bearing (an) Attack) - 擔撃
The uke strikes with a left fudo ken tsuki and then follows up with a right fudo ken tsuki.
The uke comes in with a right tsuki. Jodan uke up with an open palm facing the uke while shifting back, intercepting the tsuki. The uke follows up with a left tsuki, Jodan uke up with an open palm facing the uke. The body should now be in houko no kamae. Sokushin sokuhou back with the lead leg, then kick up to the uke's chest with the flat of the foot.
Batsugi (Removal Technique) - 拔技
The uke grabs the lapel to pull or push the tori.
The uke grabs the lapel and the tori shifts back with the rear leg and strikes the back of the uke's hand with koppo ken, then covers and removes the hand, while shifting back with the other leg to take the uke's balance. The tori should now be in hoko no kamae. Sokushin sokuhou with the lead leg, strike to the uke's face with shako ken with the lead hand, then apply omote gyaku to the wrist.
Settou (Break and Fell) - 折倒
The uke grabs the arm to throw.
The uke grabs the arm, shift forward and strike to the thoracodorsal artery and nerve (area where the arm and shoulder meet). Bring the arm over the uke's arm and drive in with a boshiken to the uke's butsumetsu.
Shihaku (Checkmate [Clap of playing a Chess piece]) - 指拍
The uke strikes with the left fist and then with the right fist. When the tori kicks to the gedan, perform gedan uke.
Perform jodan uke when the first strike comes in and again with the second strike. Sokushin sokuhou with the left leg drawing back and feint a kick to the suzu with the right leg. When the uke does gedan uke, strike to the ribs with niouken.
Kyogi (Rejecting Technique) - 拒技
The uke strikes with the left fist and then with the right fist.
Perform jodan uke and perform sokushin sokuhou to evade the second strike. Sweep the uke's rear leg toki (ankle), while at the same time striking to the hip with niouken.
Kakkou (Binding Torture) - 括拷
The uke strikes with the left fist in niouken and then with the right.
From a left seigan, when the uke attacks, sokushin sokuhou shifting the rear leg behind, then kicking to the sai. At the same time, strike to the face with ittousantou, three strikes in one. This is striking with the three fingers together, striking with the bottom of the fist and finishing with niouken, all to the same point at the same time.
Uranami (Wavebreaker) - 浦波
The uke strikes with the left fist in niouken and then with the right.
From a right seigan, jodan uke the first and second strike then use sokushin sokuhou to move to the inside of the uke. Use kerikaeshi and kick to the lead leg yaku (calf) with the lead leg. Strike with two shitouken into both sides of the amedo.
Tenchi (Heaven and Earth) - 天地
The uke strikes with the left fist in niouken and then with the right.
From a right seigan, jodan uke the first strike and evade the second strike, sokushin sokuhou, then kick up to the suzu with the lead leg using the toes. At the same strike with shakoken to the hidaritojin of the face.
Katamaki (Sidewinder) - 片巻
The uke strikes with the left fist in nioken and then with the right.
From a right seigan, jodan uke the first strike and then the second. Step into the uke's arm and coil the arm over and then under, locking the uke's arm straight. Step through with sokushin sokuhou and strike to the butsumetsu (chest) with koppouken.
Hekito Gata - 劈刀型
Sokuboku (Simple Kick) - 蹴朴
As the uke, cut down on the opponent's head from daijodan no kamae.
From migi seigan no kamae, as the cut comes down, take a small step with the left foot to the left and then pivot the right foot around off line of the cut. With the left hand cover the opponent's lead hand, then kick up to the hoshi of the opponent's rear arm. The opponent drops the sword. Strike into the opponent's face with shako ken and knock him down.
Bokuhen (Simple Fade) - 朴返
As the uke, thrust with a tsuki with the blade facing to the right. As the tori evades, cut horizontally to the right following them. Bring the sword up to daijodan and cut down to the opponent's head.
From hira ichimonji no kamae, use shihou tobi to jump back to the left using the right leg. When the uke moves into daijodan for the next attack, move in immediately and cover the uke's rear arm with the right hand while at the same time covering the uke's lead hand with the right elbow. Kick into the suigetsu with the right leg and knock the uke down.
Dakou (Rapping Strike) - 打扣
As the uke, from chudan no kamae, step forward using sokushin sokuhou and thrust into the opponents centre mass.
From hoko no kamae, sokushin sokuhou to the left and shift forward. With the left hand catch hold of the uke's right wrist and strike strongly into the back of the hand with niouken. If the uke drops the sword, turn the body to the right and kneel down onto the uke's left leg. If the uke does not drop the sword, use the other hand to grab hold of the uke's right wrist, sokushin sokuhou to the left and bring the blade back on the uke. In both cases the uke falls down face up.
Shuriki (Arm strength) - 手力
As the uke, cut down from daijodan no kamae.
From bobi no kamae, sokushin sokuhou to the left with the rear leg behind. Step with the lead leg and cover the uke's wrist with the rear hand while striking down to the nagare with the lead hand. Cover the wrist with the lead hand while shifting forward and striking to the uke's eyes with the rear hand using a shutou.
Sabo (Aspiring Hope) - 跂望
As the uke, cut down from daijodan no kamae.
From hidari seigan no kamae, sokushin sokuhou to the left with the rear leg behind. Cover the uke's lead arm with the lead arm and strike with the rear arm into the uke's jakkin. At the same time kick into the uke's butsumetsu with the rear leg.
Seion (Sound of life) - 生音
The uke grabs the tori's right sleeve and left lapel. The attack is to push with the right hand and pull the arm with the left to unbalance the tori.
Grab the uke's right sleeve and pull, while at the same time thrusting into the asagasumi with a boshiken, shifting to the left. Kick into the back of the uke's knee and drive it to the floor with the rear leg, then throw.
Dakou (Rapping Strike) - 打扣
As the uke, from chudan no kamae, step forward using sokushin sokuhou and thrust into the opponents centre mass.
From hoko no kamae, sokushin sokuhou to the left and shift forward. With the left hand catch hold of the uke's right wrist and strike strongly into the back of the hand with niouken. If the uke drops the sword, turn the body to the right and kneel down onto the uke's left leg. If the uke does not drop the sword, use the other hand to grab hold of the uke's right wrist, sokushin sokuhou to the left and bring the blade back on the uke. In both cases the uke falls down face up.
Shuriki (Arm strength) - 手力
As the uke, cut down from daijodan no kamae.
From bobi no kamae, sokushin sokuhou to the left with the rear leg behind. Step with the lead leg and cover the uke's wrist with the rear hand while striking down to the nagare with the lead hand. Cover the wrist with the lead hand while shifting forward and striking to the uke's eyes with the rear hand using a shutou.
Sabo (Aspiring Hope) - 跂望
As the uke, cut down from daijodan no kamae.
From hidari seigan no kamae, sokushin sokuhou to the left with the rear leg behind. Cover the uke's lead arm with the lead arm and strike with the rear arm into the uke's jakkin. At the same time kick into the uke's butsumetsu with the rear leg.
Kukishin Ryuu Daken Taijutsu (九鬼神流打拳体術) - Nine Fierce Deities School
Shoden Gata - 初伝型
The uke grabs the tori's right sleeve and left lapel. The attack is to push with the right hand and pull the arm with the left to unbalance the tori.
Grab the uke's right sleeve and pull, while at the same time thrusting into the asagasumi with a boshiken, shifting to the left. Kick into the back of the uke's knee and drive it to the floor with the rear leg, then throw.
Takagi Yoshin Ryuu Jutaijutsu (高木揚心流柔体術) - Takagi Raised Heart School
Takagi Yoshin Ryu has very few similarities with the other schools in the Bujinkan. The Dai Nihon Bugei Ryu Ha says that a series of techniques, which were in future years to become known as the Takagi Ryu, were put together by a wandering Taoist monk called Sounryu in 1569. He lived in Rikuzen Funagawa, not far from Sanroku mountain. Takagi Ryu techniques were made up from Taijutsu, Bojutsu, and Shuriken.Several generations later the Ryu passed to Oriemon Shigenobi Takagi, a Samurai from Katakura Kojuro in Fukushima prefecture. He was taught by Ito Sukesada from the age of 16 years, and was given the Menkyo Kaiden when he was 20. Oriemon was born on 2nd April 1625 and died 7th October 1702 (?). He revised and improved the techniques and put them together into what was known then as Takagi Ryu. It was also for this reason that the Ryu was named after him. The Yagyu Ryu were the sword instructors for the Tokugawa Shogunate in the 1600s. It is also possible that they were ninja. Takagi arranged several matches with them and being successful, put the Takagi Ryu on the Japanese martial arts school map in the 1600s.
The school passed on to Umannosuke Shigetada Takagi. Umannosuke started to study under Orieman in 1671 when he too was 16, adding new techniques from the Taijutsu school Takauchi Ryu. He however taught the school as Takagi Ryu Dakentaijutsu, Bojutsu, Sojutsu, Naginatajutsu, and Senban Nage. In 1695 he was recognized by the Emperor as a high class martial artist. He also studied Zen with Gudo-Washo, a Zen monk from the Chzen temple. Some of these Zen attitudes where also introduced to the teachings of the Ryu. Umannosuke traveled extensively throughout Japan teaching his system of Dakentaijutsu. He died 26 April 1711.
Gennoshin Higeshige was the son of Umannosuke and changed his name to Takagi Yoshin Ryu Tutaijutsu. He taught in Hyogo prefecture. He was good at Dakentaijutsu, and he changed the name to Takagi Ryu Jutaijutsu. Ohkuni Shigenobu was an expert in Kukishinden Ryu, he was invited to stay and teach his system to the Takagi Yoshin Ryu by Gennoshin. These two Soke rearranged the two Ryu making Takagi Yoshin Ryu Jutaijutsu and Kukishinden Ryu Bojutsu etc. Gennoshin became ill and died on 2nd October 1746. He asked Ohkuni to continue the original teachings in the new way that they had created together. Ohkuni then renamed the school Hon Tai Takagi Yoshin Ryu. October 1841, Yagi Jigero Hisayashi, a retired Samurai from AKOH castle in Hyogo prefecture, opened a dojo in Hyogo prefecture in Akashi. He taught Ishitani Takeo Masatsugu. His son Ishitani Masataro also became the Soke of Kukishinden Ryu and Shinden Tatara Ryu (this was later to be called Shindenfundo Ryu). He learnt the later from Akiyama Yotaro. He made some changes and the Takagi Yoshin Ryu was founded, but the old line of Soke was not forgot, but continued with the new name. Ishitani taught Takamatsu Toshitsugu from 1903-1911.
In June 1952 Sato Kinbei Kiyoaki was taught by Takamatsu and later became the 17th Soke of this school, but this is not the Takagi Yoshin Ryu as taught within the Bujinkan System. It is called Hon Tai Takagi Yoshin Ryu. In November 1989 Shoto Tanemura the Soke of Genbukan Ninpo became the 18th Soke of Hon Tai Takagi Yoshin Ryu Jutaijutsu. With the death of Takamatsu, Masaaki Hatsumi became the 17th Soke of Takagi Yoshin Ryu Jujutsu. There is a also another school in Japan called the Hon Tai Ryu Jujutsu. Three different schools exactly the same, but with different Soke, but now creating their own history.
September 1995:
by Peter Aelbrecht
Takagi Yoshin Ryuu techniques are very clean and neat, they will often fall into place like pieces of a puzzle coming together. The name Takagi Yoshin comes from the surname Takagi 高木 'High Tree' and Yoshin 揚心 'Raised Heart'. The kanji 揚 has evolved in modern Japanese to 上, but essentially means the same thing. The 'Raised Heart' idea is linked to the Zen and spiritual roots of this lineage.
Another interesting aspect of Takagi Yoshin Ryuu are a number of techniques that begin in seiza (kneeling) and strategies involved with protecting others in multiple attacker scenarios. Below you can see an accurate representation of Takagi Yoshin Ryuu.
Zen Buddhism hasn't changed much since the 15th century in Japan, but during the warring states period even Monks were assaulted by bandits, roaming samurai (ronin) and peasants. Unlike western religion, Buddhist and Shinto holy men were allowed to defend themselves and engage in violence when necessary. There were even temples dedicated to protecting the faith and at one point the Ikkou-Ikki sect of Buddhism rose up to to challenge the local government (samurai) for control. It was not uncommon for monks to have martial arts training and sometimes they would even be better armed and equipped than their samurai overlords themselves.
In popular culture Souhei (Monks), Samurai and Shinobi (Ninja) are often portrayed as distinct groups, but in reality the lines were often blurred with organisations and groups acting in a variety of ways to further their goals using religion, bureaucracy or subterfuge to fulfill their goals.
