OSTRZEŻENIE DŁUGI POST!!!!
hmm....naprawde ciężko jest odpowiedzieć
łatwiej było by Ci to jakoś pokazać.....np. w GoGyo no kata ostatnia postawa wygląda tak :
a tak wygląda ostatnie stadium przy cięciu (dokładniej chodzi tu o dobywanie miecza)
jak widzisz plecy i "tylna" noga są w lini prostej , kolano nad palcami ...Bujinkan nie jest sztuką walki ..to organizacja która zawiera 9 tradycji - tak to należy nazywać . Każda tradycja rózni się czymś od innych ....ale hmmmm..porównanie do innych sztuk walki ?ok spróbuje :-)
Gyokko Ryu ma swoje źródła w Chinach (bodajże chiński boks albo coś innego nie wiem dokładnie) ale rózni się założeniami oraz technikami .
co do technik ręcznych w GR są one szybkie, student porusza się pod kątem 45 stopni(jedna z podstawowych założeń kosshi jutsu )
Togakure Ryu długie niskie pozycje ,założenia kosshi i koppo jutsu, pochodzi od Gyokko .
żeby jako tako władać Tai jutsu potrzeba około roku ....oczywiście zależy od shidoshi oraz ryu (szkoły)i twojego talentu. Mi Tai jutsu uratowało kilka raz tyłek :twisted: .hmmm może to Ci trochę pomoze w twoich porównywaniach
Essence of Taijutsu
An essay by Hatsumi-sensei.
(translated by Stephen K. and Rumiko Hayes)
Taijutusu, literally translated as “skill with the body,” forms the basis for all understanding in the fighting arts of the ninja. By concentrating on developing natural responsive actions with the body during initial ninja training, one can then use the physical lessons as models for psychological and tactical training in advanced studies. The ninja’s taijutsu is made up of methods for striking and grappling in unarmed fighting, tumbling and breaking falls, leaping and climbing, conditioning the body and maintaining health, as well as special ways of walking and running.
Some of the more popular Oriental martial arts and training systems attempt to mold the practitioner’s ways of reacting and moving to fit a styliized set of predetermined movements. In effect, they are “adding to” the student’s total personality. The taijutsu of Togakure ryu ninjutsu works in the opposite manner to naturalize all movements by stripping away the awkward or unnatural tendencies that may have been picked up unknowingly over the years.
As a fighting system, taijutsu relies on natural body strength and resiliency, speed of response and movement, and an understanding of the principles of nature for successful results in self-protection. The techniques take advantage of natural employment of body dynamics. The students need not imitate some sort of animal, nor distort or deform the natural body structure, in order to emply the taijutsu techniques for self-defense.
The principles of taijutsu also provide the foundation for combat with weapons in ninjutsu. The loose, adaptive body postures and movements readily fit the fighting tools employed in the ninja’s art. Footwork, body balance, speed, energy application and strategy are identical for practitioners of ninjutsu, whehter fighing with fists, blades or chains.
The effectiveness of taijutsu as a total fighting system is based on the ninja’s reliance on the harmony inherent in nature. Even the fundamental fighting postures and techniques model themselves after the manifestations of the elements in our environment; and the advanced training methods use the balances of the psychological as well as the physical ways.
The five physical elemental manifestations of the physical universe are the classifications of solid, liquid, combustious, gaseous and sub-atomic potential, which are the chi (earth), sui(water), ka(fire), fu (wind) and ku (emptiness) of Oriental metaphysics. By increasing our observation and awareness of the interrelationships of these various levels of reality, we can develop the ability to see vast patterns of cause and effect that are unrecognized by other people around us. In this sense the practitioner of ninjutsu learns to use the natural progression of the universal cycles, and his body and intentions always adapt to the advances of any attacker. By coming into attunement with the scheme of totality, the ninja always knows the appropriate response for any given situation that confronts him.
Ninjutsu Hiketsu Bun
An essay by Takamatsu-sensei
The essence of all Martial Arts and military strategies is self protection and the prevention of danger. Ninjutsu epitomizes the fullest concept of self-protection through martial training in that the ninja art deals with the protection of not only the physical body, but the mind and spirit as well. The way of the ninja is the way of enduring, surviving, and prevailing over all that would destroy one. More than merely delivering strikes and slashes, and deeper in significanse than the simple out-witting of an enemy; ninjutsu is the way off attaining that which we need while making the world a better place.
The skill of the ninja is the art of winning. In the beginning study of any combative art, proper motivation is crucial. Without the proper frame of mind, continous exposure to fighting techniques can lead to ruin instead of self-development. But this fact is not different from any other beneficial practice in life carried to extremes.
Medical science is dedicated to the betterment of health and the relief of suffering, and yet the misuse of drugs and the exultation of the physician’s skills can lead people to a state where an individual’s health is no longer within his or her personal control. A nutritious well-balanced diet works to keep a person alive, vital, and healthy, but grossly over-eating, over-drinking, or taking in too many chemicals is a sure way to poison the body.
Governments are established to oversee the harmonious inter-working of all parts of society, but when the rulers become greedy, hungry for power, or lacking in wisdom, the country is subjected to needless wars, disorder or civil and economic chaos.
A religion, when based on faith developed through experience, a broad and questing mind, and unflagging pursuit of universal understanding, is of inspiration and comfort to people. Once a religion loses its original focus, however, it becomes a deadly thing with which to deceive, control and tax the people through the manipulation of their beliefs and fears.
It is the same with the martial arts. The skills of self-protection, which should provide a feeling of inner peace and security for the martial artist, so often develop without a balance in the personality and lead the lesser martial artist into warped realms of unceasing conflict and competition which eventually consume him.
If an expert in the fighting arts sincerely pursues the essence of ninjutsu, devoid of the influence of the ego’s desires, the student will progressively come to realize the ultimate secret for becoming invincible – the attainment of the “mind and eyes of god.” The combatant who would win must be in harmony with the scheme of totality, and must be guided by an intuitive knowledge of the playing out of fate.
In tune with the providence of heaven and the impartial justice of nature, and following a clear and pure heart full of trust in the inevitable, the ninja captures the insight that will guide him successfully into battle when he must conquer and conceal himself protectively from hostility when he must acquiesce.
The vast universe, beautiful in its coldly impersonal totality, contains all that we call good or bad, all the answers for all the paradoxes we see around us. By opening his eyes and his mind, the Ninja can responsively follow the subtle seasons and reasons of heaven, changing just as change is necessary, adapting always, so that in the end there is no such thing as a surprise for the ninja.
heh to było troszkę filozoficzne ale inaczej się nie da
oto historia Gyokko ryu
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.
| Gyokushin ryu
|
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> Sasaki Gendayu Sadayasu
| Sasaki Goemon Teruyori 1716-1736
| ...
| Toda Shinryuken Masamitsu
| Takamatsu Toshitsugu
| Hatsumi Masaaki
|
|
| Hontai Gyukushin ryu
|
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> Suzuki Taizen Taro Konomasa
| |
| | (3 generations)
| | |
| | Izumo ryu koppo
| | Fukao Tsunouma Shigeyoshi
| | (no one know if it has survived)
| |
| |
| | Gikan ryu koppo
| |
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> Aikimoto Kanai Moriyoshi
| Usho Bankan Yoshikanbo
| ...
| Ishitani Matsutaro Takagage
| Takamatsu Toshitsugu
| Hatsumi Masaaki
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.
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".
Jutaijutsu teaches grappling with the opponent, as well as throwing, joint locking, choking, and escaping from these when your opponent applies them to you.
In Jutaijutsu the throws differ from judo and aikido in the fact that the throws are performed in a manner which makes breakfalling awkward or impossible for the adversary. The reason for this is to inflict the most possible damage through the throw, thus preventing the attacker from coming after you. Throws in Jutaijutsu involve attacking balance points and relying on form and momentum as opposed to muscling a person down to the ground.
Joint locks are usually used to immobolize and control an attacker. When practicing joint locks it is important to practice changing from one to another. By this I mean going from one lock to another so that if your initial attempt fails you, you don't stay stuck with what you first tried. When dealing with opponents stronger than you it is crucial to soften the attacker (with a punch, kick etc..) before attempting joint locks or he will resist using his strength. When learning these techniques take the time to find make them work without forcing or muscling the techniques. Doron Navon Shihan once told us that if we do the techniques with force and strength alone we will only be able to fight a person as strong as we are.
In throwing, too, it is important to practice going from one throw to another. Fluidity in technique and letting go of what doesn't work can save your life.
Remember, throws and locks are not separate entities. For example, many a time a lock is used to assist in throwing or a lock can be used to immobilize an attacker after throwing him on the ground. You should also practice going from throws to locks to chokes and vice versa in many different combinations.
Choking is also a part of Jutaijutsu you should also add to your training. Practice the various types of chokes and then practice them together with your throws and locks. There are two main types of chokes:
Chokes applied directly on to the windpipe.Chokes applied on the arteries of the neck.
Be careful in your practice of chokes with your partner. Allow them to tap out and release the pressure on their throats. Blood chokes (those applied to the arteries of the neck) aren't very painful but cut off the blood flow to the brain. Your partner may get dizzy or brown-out if you hold on to these chokes for too long.
Do not forget to also practice escaping from throws, locks and chokes. Practice with a partner and let him attack you whether it be a choke, throw, or lock and find various counters to each of his techniques. In order to make the training realistic your partner should not stop his technique if your counter doesn't really work and you must do your counters in a manner which will make your partner feel that they work.
We must practice many forms of throws, locks, and chokes but remember that we are not doing it in order to memorize a certain number of techniques but rather to get a feel of Jutaijutsu and an understanding of the principles that lie behind the techniques.
Now that we have discussed the three main parts of Taijutsu I must state again that the three parts are not separate entities; all three put together make Taijutsu an effective means of self protection. You should not even think of them as separate things there is only the whole. I will try to illustrate this with the following example:
Your adversary attacks you with a punch. You block his punch and he continues with a kick which you dodge by leaping back and you immediately strike your adversary stepping forward. You now grab the stunned attacker and throw him to the ground. Now you attempt to immobilize him but he slips out of your grip and kicks out at you. You quickly roll away from his attack and get up ready to continue.
As we see, all three aspects are a whole used together. You shouldn't think of them as separate and the blending of the components should come naturally. Finally, I'd like to say that we all have to go out and train. For only through training hard will we come to grasp the true feeling of Ninjutsu.
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This time I will talk on the subject of Dakentaijutsu or striking, blocking and kicking methods. Dakentaijutsu is made up of two distinct disciplines:
Koshijutsu- attacking muscle groups and nerve centers on opponent's body. Relies heavily on the use of fingers, toes and thumbs for stabbing strikes and ripping and tearing at the flesh.
Koppojutsu- bone damaging strikes, utilizing bottoms of feet, clenched fists, knees and elbows to attack and break bone structures in enemy's body.
There are many different ways of using the body weapons for employing Dakentaijutsu skills. You should utilize different strikes for attacking different targets on your opponent's body. For example, if you want to attack an enemy's soft spots, such as the armpit, you can use finger strikes and toe drives. If you want to attack a hard target you can use a foot stomp or clenched fist.
Here is a partial list of body weapons:
Fudoken: "Immovable" or clenched fist
Shikanken: Extended knuckle fist
Kitanken/Shuto: Open hand strike
Happoken: "Eight leaf" fist or slapping strikes
Shakoken: Claw fist strike
Shitanken: Thumb pressure strike
Shishiken: "Finger needle" strike
Shitoken/Boshiken: Thumb strike
Koppoken: Thumb knuckle strike
Shukiken: Elbow strike
Sokuyaku: Foot or heel strike
Sokkiken: Knee strike
Kikakuken: Head strike
Shizenken: "Natural" or body weapon
Taiken: "Total body" weapon
You should practice using the body weapons in various kata. Practice blocking with various body weapons as well as striking with different body weapons. Also practice all possible footwork for delivering the blocks and strikes.
In Dakentaijutsu the whole body is used to generate the power and strength for the various strikes and blocks. When you strike, strike through the target using the power of your whole body behind the attack.
When practicing Dakentaijutsu skills it is not enough to strike an object like a tree or punching bag. You should train with a partner as well to get a feel of what it's like to strike different targets on the human body. You should also train with your partner moving around because a real opponent won't stay in one place. Be careful though, and don't perform dangerous strikes to the head or chest at full force.
A small contraption that can help you practice attacking specific targets with precision can be made by taking a tennis ball and attaching it to a length of elastic. Hang it up and practice striking it, the ball should bob up and down and from side to side because of the elastic.
It is important to practice Dakentaijutsu skills so you learn how to block and strike effectively. Along with Jutaijutsu and Taihenjutsu, these skills form a powerful and effective base for your ninpo taijutsu.
Alon Adika has been practicing ninjutsu since 1987. He lives in Jerusalem, Israel and may be contacted at
[link widoczny dla zalogowanych Użytkowników] .
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DAKENTAIJUTSU VS. JUTAIJUTSU - AN IN DEPTH LOOK...
Jeff Mueller
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Dakentaijutsu and Jutaijutsu are two terms that are used frequently in the Bujinkan today, but many times they are misinterpreted...
These two terms are usually referred to as "Striking method" (Dakentaijutsu) and "Grappling method" (Jutaijutsu). In the realm of simple answers these definitions hold true, outside of that realm in the world of analytical answers those definitions break down. Dakentaijutsu is a way of dealing with an attack, just as Jutaijutsu is. It doesn't matter what the attack is. This is the first misconception many people have, Dakentaijutsu principles have nothing to do with the attack itself, and neither do the Jutaijutsu principles. The difference in the two is how you deal with the attack, no matter what it is. Let's look at methodology now...
Dakentaijutsu can be explained using the word "overkill." You hit the opponent until he falls down, then you hit him while he's falling, and probably after he's on the ground in front of you also. It is the art of destroying what stands before you using your striking skills. The strikes are used on many occasions to remove the opponent's balance as well. Now here's the problem people have with the definitions, and where those simple one's break down. Dakentaijutsu contains many throws as well! Many of the throws we do are found in our systems of Dakentaijutsu. It's all in the way the throw is done.
Jutaijutsu contains methods of striking, as well as throwing. The biggest point behind the Jutaijutsu method is the uke cannot take proper ukemi. You still hit the opponent, but you let the ground do most of the work for you. Let the damage from the technique come from the uke trying to take ukemi, in which case he rips or breaks whatever joints you are controlling, or let him save those joints and hit the ground hard, breaking or damaging whatever just hit.
To recap, Dakentaijutsu doesn't mean the uke punches or kicks as an attack. It doesn't mean you don't throw him. It means you beat him senseless allowing your body to do most of the work. Jutaijutsu doesn't mean the uke grabs you as an attack. It doesn't mean you don't hit him. It means you throw him in such a manner that ukemi isn't possible, allowing the ground to do most of the work for you. I hope this clears some things up for you...
Mam nadzieje że chociaż Troszkę Ci pomogłem
pozdrawiam i miłej lektury
Tygrys
ale napisałem).
Bujinkan-u tradycje maja wszystkie elementy KoRyu i odrobine wiecej poniewaz w pewnym momencie klan toda byl wywlaszczony z ich ziemi i musieli walczyc z ukrycia - jako polacy jestescie w stanie swietnie zrozumiec ten koncept - Ninjutsu to nic innego jak partyzantka. Walka z ukrycia - uzywajac takiej samej broni i rodzaju walki ale z zupelnie innej perspektywy... Przewaga armii Nobunaga byla tak duza ze po pierwszej bitwie Iga i Koga klany musialy uciec w gory i stamtad zaczac ponad 100 letnia walke partyzancka... Oczywiscie w czasach Tokugawa Toda klan i inne klany Iga i Koga zostaly przywrucone do hierarchi spolecznej udostepniajac tym samym wdrozenie ich nowych sposobow walki do asortymentu wojennego Japonii - od 16 wieku ninjutsu bylo tym czym oddzialy specjalne sa teraz - typu zielone berety. Walka na zapleczu wroga, szpiegostwo, etc. Niestety to bardzo zmienilo koncept ninjutsu - szkoly przetrwania (shinobi) i tradycyjne ninpo przetrwalo tylko w nielicznych stylach Koryu. Takich jak: Togakure Ryu czy tez Katori Shinto Ryu... Mam nadzieje ze to pomoze rozjasnic troche to czym jest Bujinkan.
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