Principles of Judo, Kenji Tomiki

Aiki Principle Of The Old System: Kito Ryu

by William Durbin, Soke of Kiyojute Ryu

One of the greatest martial arts systems of the past generation is also
one of the most influential styles that have had far reaching effect into
modern times. Kito Ryu was founded, according to most sources, in the last
years of the Sengoku Jidai, just prior to the Tokugawa Era. There are many
different founders given to the art, among them being Ibaragi Sensai,
Shichiroemon Fukuno, and Sadayashi Hirosaemon Terada. It is believed that
Ibaragi Sensai actually founded the Ryu and passed it on to Fukuno. Then
Fukuno is believed to have founded his own Ryu named after him, and also
known as the Ryoi Shinto Ryu. Fukuno based his teachings on the Ji Bugei,
temple martial arts. Eventually he passed the systems onto the Terada family,
who kept them alive and passed them on so that they are still taught today.

Aiki Kempo and Ju Kempo

Fukuno taught both systems, Kito Ryu and Fukuno Ryu (a.k.a.) Ryoi
Shinto Ryu, with a combination of all active fighting principles of the time.
This meant that he taught Aiki, Ju, and Kempo. Aiki was the principle of
harmonizing ones movement and energy with that of an attacker. Ju, was the
principle that taught one how to use the attacker's body and mass against
them. The final principle was that of Kempo which was the study of the weak
points of the human anatomy along with the most appropriate body weapons
for striking them. This principle was also known as Atemi. Each of these
three principles overlaps with the others, but each one also has something to
teach the martial artist.

There are those who think of Kempo as being divided into two types
of Jujutsu forms. In my research I have found reference to both Aiki Kempo
and Ju Kempo. This is what was combined and contained in Kito Ryu, at
least according to how it developed and influenced the modern arts that have
derived from it.

It is important for us to realize that just as the Kito Ryu combined all
three principles, most modern martial arts tend to limit themselves to only
one. A look at three of the top modern systems show how comprehensive the
Kito Ryu truly was, and how influential it proved to be for modern times. It
also lets us know the weakness of modern systems, which are designed for
sports as opposed to combat oriented martial arts, such as the Kito Ryu.

Nihon Goshindo Kempo

First of all, the founder of Nihon Goshindo Kempo, Taizen Takemori,

attributes the development of Kempo to the many Jujutsu systems; Tenshin
Shinyo Ryu, Sekiguchi Ryu, Jikishin Ryu, Shibukawa Ryu, and of course the
great, Kito Ryu. The emphasis on striking comes from the vital point studies
and formation of bodily weapons found in these grand old Jujutsu systems.
Too many people think of Jujutsu as only a throwing art, which is extremely
inaccurate. Most of the ancient Jujutsu Ryu were very effective in striking
techniques, but majored on throwing or joint locking techniques since they
were designed to be used against foes in armor. The temple arts were
generally called Kempo and many of the Samurai who founded Ryu used the
terms Kempo and Atemi to designate their striking division. In the Nihon
Goshindo form of Japanese Kempo the emphasis is on the striking skills,
though the other techniques are present as well.

Kodokan Judo

Next is the very famous and illustrious Kodokan Judo, founded by

Jigoro Kano, who studied the Kito Ryu from the great instructor Tsunetoshi
Iikubo. His famous method of training, called in Kodokan Judo, Randori is
actually based on the Kito Ryu training method of Ranotoru. Originally Kano
intended the study of Kodokan Judo to be an introduction to Kito Ryu, and
other systems, so much so that the form Koshiki no Kata is actually only a
Kata directly from the throwing art of the older system. Kano's original
system, sometimes in those early years of it's formation referred to as Kano
Ryu Jujutsu, contained a full emphasis on striking and joint locking, but as
the art developed more along sport lines and the emphasis began to be on
sport oriented Randori, these other forms of training diminished until today
there are those who are black belts in Judo who have never studied the art of
striking or joint locking, other than those locks allowed in competition.

The so-called effective submission Jujutsu people are actually only

doing a brutal form of the sport of Judo with little emphasis on throwing and
more emphasis on a very small part of the Katame Waza of Kodokan Judo.
Most of these people use silly names for the few techniques they know, since
they haven’t even studied enough of the traditional and original art to know
the Japanese names. These individuals would do well to quit the violence of
the submission grappling, before they are crippled or killed, and take the time
to learn the art of Jujutsu as it exists in the traditional systems that have
preserved it.

Aikikai Aikido

The third art to have its beginning and basis in Kito Ryu is none other
than Aikikai Aikido, the art founded by Morihei Ueshiba. Too many people
emphasize Ueshiba's connection to the Daito Ryu Aikijujutsu style so much
that they forget that he was an accomplished martial artist before he ever met
Sokaku Takeda. Morihei Ueshiba began serious martial arts training in 1868,
at the age of fifteen, in Kito Ryu under Tokusaburo Tozawa. Some people
confuse Tozawa with Tobari, who has the same first name. But Ueshiba
trained with Tobari in Tenshin Shinyo Ryu at the age of nineteen.
Kisshomaru wrote extensively about the knowledge of Kito Ryu, which he
was taught by his father.

Thus before he finally trained with Takeda in Daito Ryu he also had
experienced training not only in Kito Ryu but also Tenshin Shinyo Ryu and
also in, Yagyu Ryu, Aioi Ryu, Hozoin Ryu, Shinkage Ryu, and Kodokan
Judo. Some people think that Morihei Ueshiba owes everything of Aikido to
Daito Ryu, and while it is assuredly true that he learned much from Sokaku
Takeda, he owes just as much to the solid foundation given to him in the Kito
Ryu by Tokusaburo Tozawa. Without that firm foundation, Ueshiba might
never have stayed with the martial arts and reached the level of greatness he
achieved.

Kito Ryu

Kito Ryu taught basically the same techniques and concepts found in
Daito Ryu, but with slightly different emphasis and terminology. Kito Ryu
taught many techniques which were designed for use in armor, thus without
the protection offered by such covering, it was necessary that the movements
be modified for fighting without armor. Kito Ryu did teach an emphasis on
Ki, which, even at the young age of fifteen, Morihei appreciated and
understood. Kito means rising and falling, with the rising being synonymous
with Yo (Yang) and the falling being the In (Yin). This is the blend between
strength and suppleness or gentleness. Kito Ryu taught that when the enemy
shows strength you defeat them with suppleness, when the enemy shows
suppleness you defeat them with strength. But never rely on strength, rather
discard strength to harmonize with the universal spirit, Ki. Thus Ki allows
you to overcome an enemy by rebounding his own strength against him. The
essence of this is simply gentleness overcomes strength. These are the
teachings of Kito Ryu.

It is obvious that this is what lies at the foundation of Aikido and is

one of the main principles of the old system, Kito Ryu. Kito is in many ways
the same as Aiki, it is a perfect blend of harmony between the active and
passive principles of the universe. Ueshiba had always emphasized harmony
in the universal sense, and Ki underlined everything that he did and
performed. Most people assume his emphasis on Ki came from his study of
Daito Ryu, but the truth seems that it was his early study of Kito Ryu that
lead to his emphasis and mastery of Ki.

While many styles understand and utilize the principle of Ju, most
learning of it from Judo, and most strive to use the concept of strength as
taught in Karate, comparable to the idea of Kempo, few people really
understand and can use Aiki, even though it is such an important principle to
combat. By looking at the application of the three main principles of
movement in Aiki it is possible to see how important the principles really are
and how they might be applied to effective combat.

The Three Movements

One way of expressing the three main movements of Aiki are by

calling them; Irimi, Tenkan, and Irimi Tenkan. Irimi means 'to enter', and
refers to moving towards an attacker, but at an oblique angle, so that the
attack misses it's mark. The defender is thus close enough to be able to
execute a throw, joint lock, or even strike the attacker. Tenkan means 'to turn'
or 'to pivot'. This allows a defender to spin out of the way of the attack, and
as the assailant passes by the defender can throw, joint lock, or strike, once
again. Finally, Irimi Tenkan is a combination of doing an entering movement
and then turning in the execution of the defensive technique.

Each of the principles can be applied to typical throwing techniques.

But what is not understood is that at all times a practitioner should be
prepared to immediately strike, if the control needed to throw the attacker is
lost. There are people today trying to combine Karate and Aikido, thinking
that in combining the hard and the soft they will develop a superior style, but
the truth is that all combat systems, that are worthy of the name, originated
from the harmony of these principles.

It is because most people engage in sport martial arts that they do not
realize that all movements of combat are related. Too many people in Aikido
think that the art is designed only to capture and throw people, or pin them
helplessly to the ground. What they forget is that Morihei Ueshiba was a
soldier who had actual war experience. He trained in systems of martial arts
that were combat developed and deadly earnest. Kito Ryu, Yagyu Ryu,
Shinkage Ryu, Hozoin Ryu and Daito Ryu, were all combat systems
developed to be used on the battlefield to kill the enemy.

Ueshiba himself said that, 'Aikido decides life and death in a single
strike', and 'Aikido is the way that teaches how to deal with several enemies.'
All combat styles have the combined aspect of Aiki Kempo and Ju Kempo. It
might be thought of in this way, if someone attacks you with a push, you can
begin to overcome his attack by pulling (the principle of Ju), however if he is
too strong, to offset his strength you can turn as you maintain your pull (this
is the principle of Aiki), and at any time that a vital point is presented you
can deliver a strike to it (the principle of Kempo).

The three quarter turn found in many Okinawan Kata, as well as, the
three quarter turn taught as part of the Kata Ido in Goju Ryu Karate, shows
the inherent need of all principles contained in one art. For the three quarter
turn of Okinawan Karate is the same as the Tenkan in Aikido. These are
universal principles that need to be understood by all people who are
practicing martial arts for self defense. The principle of Aiki is one of the
most important of all combat principles, and formed the base of many of the
Jujutsu systems in Japan. While different terminology was used to express it,
the concept was a constant in the ancient combat systems. Whether the desire
was to throw an armored foe or strike an unarmored assailant, Aiki taught the
 martial artist how not to get hit. It is hoped that Karateka and Judoka will see
the importance of this universal principle, and in the desire to enrich their self
defense capabilities will research with self defense Kempo practitioners and
combat oriented Aikidoka, the wonderful principle of Aiki, and the combat
movements of; Irimi, Tenkan, and Irimi Tenkan.

Kiyojute Ryu Kempo Bugei seeks to preserve through its primary

Kempo art, the sub arts of Jujutsu and Aikijujutsu these principles of Kito
Ryu. They are available for all students wishing to explore the depths of the
real martial arts.

Kitō-ryū
From Wikipedia, the free encyclopedia
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Kitō-ryū (起倒流) is a traditional school (koryū) of the Japanese martial art of jujutsu. Its syllabus comprises
atemi-waza (striking techniques), nage-waza (throwing techniques), kansetsu-waza (joint locking techniques)
and shime-waza (choking techniques). The style is focused on throws and sweeps, and many of these techniques
are designed to be performed while in full armor.

Origin

Kitō Ryū is translated as "the school of the rise and fall." It is similar to forms of "aikijutsu," [1] including the
principle of "ki" (energy) and aiki (Kitō Ryū teaches that "When two minds are united, the stronger controls the
weaker"...). Equally, it uses principles such as "kuzushi no ri" or "breaking of balance" now associated with
modern judo.

Base art of Judo

Jigoro Kano trained in Kitō-ryū and derived some of the principles that were to form the basis of modern judo
from this style. Judo's Koshiki-no-kata is based on Kitō-ryū.[1] Since Kano Jigoro got the Kitō-ryū densho from
his Sensei,[2] Judo is the current Kitō-ryū official successor.

Kuzushi - Beginning and Advanced Concepts.

Kuzushi is integral to Judo, and is taught right from the very beginning, but as I’ll discuss here, there are
different forms of Kuzushi, and different ways to apply it.
Let’s begin by learning what is meant by the term. There are three different ‘sets’ of kuzushi that are taught in
Judo:

Roppo no Kuzushi – the six directions of breaking balance, referring to the right, left, right front corner, left
front corner, right back corner, and left back corner.

Happo no Kuzushi – Same as above, but the directions directly forward and back are added, for a total of eight
directions of off balance.

The third set is not commonly taught as far as I’m aware, but comes from Kazuzo Kudo’s observations in his
book, “Dynamic Judo”. He teaches 14 directions of off balance, taking the normal eight directions, and
separating the front corner directions into three, and the back corner directions into two. So instead of right
front corner, Kudo has “outside right front”, “mid right front”, and “inside right front. Instead of the right rear
corner, Kudo has “right rear”, and “right rear side”.

Of course, the real number of directions is, in theory, infinite… but it’s good to have a starting basis for being
able to transmit the basic ideas of a given throw. Throws often have a preferred direction of off balance, and
often can work in a number of directions, as well as directions in which the throw simply won’t work. Off
balancing your opponent to the left front corner, then attempting a right-sided Osotogari is a recipe for disaster.

What, though, does the term “Kuzushi” actually mean? We often use it to mean off balancing uke in a given
direction, but does “Kuzushi” mean this? Or is this only one of the meanings that can be used? Kuzushi comes
from the verb, kuzureru, which has the meaning of ‘to break or crumble’. The problem, as you can easily see, is
that this does not necessarily refer to balance.

If Kuzushi doesn’t actually refer to balance, let’s look at what else might be available. Koshikudake – this term
has the meaning of losing one’s balance (such as in the middle of a match), or a weakening of one’s
attitude. You might begin to wonder why Kano didn’t chose to speak of Koshikudake, Tsukuri & Kake.

Unfortunately, we can’t ask Kano at this time why he chose kuzushi, when there was a much more appropriate
Japanese word to use, so let’s examine the issue and see if we can come to any conclusions. The goal of
kuzushi is simple, to prevent uke from being able to mount a defense against the technique being used. The
argument could then be made that a fifth of Scotch or a baseball bat can be a very effective form of kuzushi!

Unfortunately, I suspect that any good tournament director isn’t going to allow you to fight drunken opponents,
or to carry a bat with you on the mat - so how can we induce a state where our opponent cannot defend? Off-
balancing uke certainly does exactly this. When you attack at the moment uke is not in good balance, he cannot
make the appropriate defense. And before I move on, I’d like to cover some of the ways you can induce your
uke to be off-balance.

1. A simple push or pull with the hands will force many Judoka to a momentary loss of balance. This is the
very first method that is taught (or perhaps more accurately, the first method that is perceived by the student),
and it would be difficult indeed to find a Judoka who doesn’t know this simple way to perform kuzushi on
uke. The major problem with this method is that people have been learning since they first began to walk just
how to regain lost balance. It’s difficult indeed to counter decades of balance conservation with a few months
or few years of learning how to pull uke off-balance.

2. A slightly more advanced method is to have uke help you with off-balancing him. As Mifune puts it, “In
most cases, the opponent will oppose your energy when you begin to attack him, in order to maintain his
stability.” So the trick is to force uke to begin a movement that you will help him with. For example, you
really want to throw uke with a left-side Osotogari, so you pull to uke’s right front corner, as if you intend to try
Tai Otoshi - as uke will resist by pulling back, you then ‘help’ him with your strength. This method is more
powerful than the first method, as you are now inviting uke to help you off-balance him.

3. Next, you arrive at the point in which your arms do nothing more than maintain the distance between you
(while being quite relaxed), and you off-balance your opponent with your body movement. This is an advanced
form of off balancing your opponent, and particularly, when combined with random changes of tempo, can be
extremely effective.

4. Finally, the epitome of off balancing is when you blend with uke’s movement, and add your force to his
to extend his movement beyond where he’d intended to go. Rather than initiating any movement - you take
what uke gives you, and work with it. This is the rarest form of off balancing - and the most difficult. It simply
takes a great deal of experience and randori to achieve.

Now, what happens when you are facing a black belt, perhaps at the national or international level, and only
have five minutes to force him to lose his balance? Let me tell you a secret – IT AIN’T GONNA HAPPEN!

So now, let’s examine again the difference between kuzushi, which means in Judo to off-balance, but comes
from the verb kuzureru - meaning to break or crumble, and what Kano could well have used instead,
Koshikudake, which does indeed have the very meaning that many Judoka believe “kuzushi” has in Judo. I
think that it’s possible that Kano purposely stayed away from Koshikudake (which, by the way, is frequently
used in Sumo). Kano might well have been telling us that off balancing is merely one way that you can ‘break
or crumble’ uke’s ability to make a successful defense against your attack.

What other way is there? Let’s imagine two Judoka in a classic upright posture, with a normal grip. Tori
suddenly steps backward, placing himself at a 45 degree ‘angle of attack’ to uke. This creates an
overwhelming force to uke’s back, which in order to defend HE MUST STEP BACK (or, possibly to the side,
which instead of opposing the force, would let tori’s force go ‘past’ him). What is to prevent uke from doing
exactly this?

Several possibilities here… speed, rhythm, kiai, misdirection, atemi, timing, grip, and psychology… all come to
mind. Let’s examine each briefly:

Speed: If, for example, your attack is so blazingly fast, that uke doesn’t have time to react to it, then you have
broken his ability to defend without off balancing him. Most Ashiwaza falls into this category …

Rhythm: Randori or shiai between two Judoka have a rhythm, or tempo; to the movement being made by
both. If you break this rhythm, take control of this rhythm, you can create a momentary lapse of uke’s ability to
present a defense.

Kiai: A loud kiai can disrupt uke’s concentration and movement. Although appropriate kiai is more helpful to
tori than damaging for uke’s balance or concentration, it is certainly yet one more factor to use.

Misdirection: If you fake a throw to one direction, and uke defends strongly in that direction, yet you actually
complete the throw in another direction, again, you’ve taken away uke’s ability to defend. This also forms the
basis for renrakuwaza - combining techniques together to form an attacking combination.

Atemi: Unfortunately not allowed in randori or shiai, but can be an excellent method to break an opponent’s
concentration and/or balance.

Timing: If Uke has just made an attack on you, and as he is withdrawing, you initiate your attack, you are using
timing as a factor to prevent uke from defending. While only one example, this is perhaps one of the stronger
uses of attack timing. More advanced Judoka can also use the time immediately preceding uke’s attack. Uke
is poorly prepared to defend an attack at the moment he is initiating one.

Grip: What Judoka has not had the experience of attempting to defend and suddenly discovering that because
Tori has an unusual grip, no defense works? Or that your opponent has started his attack - but you don’t have a
grip yet?

Psychological: Related somewhat to misdirection - if you continually attack, or threaten to attack, with right-
sided forward Tai Otoshi, and suddenly shift your attack to a rearward left Osoto Gari, uke can become
disoriented momentarily, and this can prevent his effective defense to your waza.

What do all these methods (which do not directly affect uke’s balance) have in common?

If you watch high-level competition, you will see that they attack opponent’s who are clearly not off
balance. They are using exactly these factors to prevent uke from defending. This leads to the next discussion -
the problem of what came first, the chicken or the egg. Or, in Judo terms, is it Kuzushi and then Tsukuri, or the
other way around? Well, to begin with, every Judoka is taught that Kuzushi comes first… as indeed, at the
lower levels of Judo, it does. But at the higher levels of skill, it is Tsukuri which comes first, and creates
kuzushi - whether in the form of off balance, or by destroying uke’s posture, or simply making it impossible for
uke to defend.

To some Judoka, this might sound at first as a heretical concept… but let’s examine what others have said…
From Kazuzo Kudo’s “Dynamic Judo”, we find this description: “Getting your opponent into a posture from
which it is easy to throw him or easy to down him is called breaking his posture (kuzushi). We also sometimes
refer to this as making the proper posture (tsukuri).”

It’s interesting to own both versions of Kodokan Judo, and watch how concepts have evolved and changed over
time. Let’s look at what the current 1982 edition of Kodokan Judo says about Tsukuri:

“To execute a throw (kake), after breaking your opponent’s balance you must move your body into position for
the throw. This is known as tsukuri.” - Note that for this edition of Kodokan Judo, there’s clearly the sequential
sequence of Kuzushi, Tsukuri, and Kake.

Now, let’s see what it originally stated… from the original 1955 edition: “To destroy your opponent’s posture
or balance so as to make your attack easier while holding yourself ready at the same time to attack him is
called Tsukuri or “preparatory action for attack”. To actually apply our contemplated technique, when his
posture has already been broken by Tsukuri, is called Kake, or “an attack”. - Note the difference here - The
sequential sequence is clearly Tsukuri (creating Kuzushi), Kake. Or, perhaps this edition presupposes that
Kuzushi and Tsukuri don’t have a clearly defined demarcation.

Jimmy Pedro, America’s most successful International competitor, puts it this way: “In some throws the three
stages happen in order, one following the other—kuzushi, breaking the balance; tsukuri, positioning for the
throw; and kake, the throw. On other occasions the kuzushi and tsukuri occur simultaneously, with the kake
following. In some throws the three phases happen simultaneously. Finally, in a few throws the tsukuri
happens first, the kuzushi occurs next, and the kake ends the technique.” (‘Judo Techniques & Tactics, pg. 62)

Clearly, what at first might appear to be an idea contrary to good Judo is nothing more that mainstream
Judo. Certainly it is mainstream competitive Judo. Anyone who watches the video “101 Ippons” will quickly
learn that successful attacks don’t necessarily start with an off-balance uke. So perhaps Kano was telling us
something when he chose to use Kuzushi - which in my opinion more accurately refers to an uke’s posture OR
ability to defend being broken or crumbled, rather than only his balance. For if balance were Kano’s only
concern, there’s a far more appropriate Japanese term.
Kuzushi is one of the major differences between Judo and the foundational Jujutsu arts from which Judo
developed. The expertise that you develop with Kuzushi will largely determine the expertise with which your
waza can overcome your opponents. This is a topic that you should constantly spend your training time
on. While there are many factors that bear on your Judo skill and ability, there are only five major factors that
can improve your Judo:

1. Greater speed with your waza.

2. Greater body strength to employ.
3. More body weight.
4. More precise taisabaki. (Accurate and precise Tsukuri for a given waza)
5. Better and more accurate Kuzushi.

The first two are quite difficult to improve, the third is only applicable if you wish to change your art from Judo
to Sumo, and the last two are the two that will give you the greatest gains for the time spent improving them.

So the next time you’re at the dojo, spend some time in randori observing how to disrupt your opponent’s
ability to defend, and your Judo will be the better for it.