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小太刀 Kodachi 2016
小太刀 Kodachi 2016
小太刀 Kodachi 2016
小太刀 Kodachi
This densho represents the thoughts and training practices of the Mahoutsukai Dojo and may or may not represent the teachings of the
International Bujinkan Dojo.
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魔法使い道場
構 Kamae
⻘眼之構
Seigan no Kamae
Correct Eye Posture
Stand with the right foot forward as though in migi
ichimonji no kamae. The kodachi is held in the right hand
with the arm extended. The kissaki 切先 (tip) of the sword
should point towards the opponent’s eyes.
中⻘眼之構
Naka Seigan no Kamae
Middle Correct Eye Posture
Stand with the right foot forward as though in migi
ichimonji no kamae. The kodachi is held in the right hand
with the arm extended. The blade should lie flat in the
hand. The kissaki 切先 points towards the opponent’s
heart and the edge of the blade should face to the right
⾳無し之構
Otonashi no Kamae
Soundless Posture
Stand with the feet shoulder width apart. The hands are
held loosely at the sides with the kodachi held pointing
towards the ground. Keep the shoulders and body
relaxed.
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魔法使い道場
九⻤神伝流⼩太刀 Kukishinden Ryu Kodachi
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魔法使い道場
Hichō no Ken ⾶⿃の剣 Flying Bird Sword
Uke assumes dai jodan no kamae with daito and transition’s to hasso no kamae through
tenchi giri. Tori assumes seigan no kamae with kodachi. Evading the initial strike, tori
maintains distance from uke. Tori circles uke. When uke sees an opening, strikes do giri. Tori
strikes out with do giri utilizing zenpo tobi.
⾻‐Kotsu:
Do not rush in on uke. Patiently wait until uke commits to an attack. Control the centre line
and entice uke into a position where uke feels a strike can be made. Be prepared to counter
ukes attack through strong kamae. Tori should not be unbalanced.
戦略‐Senryaku:
One should be prepared to instantly dash forward as if a bird of prey striking down on a
target. One should store power through kamae and be prepared to use it in a rapid motion
to close distance within the opponent’s posture. Good use of hichojutsu is important.
追加の – Tsuika no
を無⼑の⼼得とする。波静かたればよく⾼からば良し。⾶⿃の剣来たるを⾃然とす
忍。⼆天⼀⼑⼆天流とする。⽣位に浮⾈にのり敵⾶勝を⽌める。浮⾈の動要に敵動
くめたわず。
Understanding muto as "like a boat floating on water." Whether the waves are gentle or
rough, it is good. Hicho no Ken (the sword of the flying bird). Regard the opponents attack
as natural. This is Niten Itto, Niten Ichi‐ryu. Board the floating boat, and stop the attack. The
boat's motion prevents the opponent from moving freely.
Masaaki Hatsumi Sensei, Japanese Sword Fighting (2013)
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魔法使い道場
Shishi Geki 獅⼦撃 Guardian Lion Attack
Uke assumes dai jodan no kamae with daito. Tori assumes migi naka seigan no kamae with
kodachi in right hand. Tori evades to the left with yoko aruki, opening and closing the left
shoulder. Uke follows tori. When tori opens up a weak spot in kamae, uke strikes do giri.
Tori presses forward inside ukes cut and thrusts with the tip of the kodachi to gorin.
⾻‐Kotsu:
Control the centre line utilising seigan and naka seigan no kamae. Create an opening, but do
not appear to create an opening for ukes attack. Try to control ukes attack with correct
kamae. Be prepared to counter attack the instant uke presses the attack. Thrust behind the
blade and not in front of it.
戦略‐Senryaku:
This movement demonstrates the strategy of waiting until the opponent believe he can
attack or escape before unleashing an attack that ensnares the opponent. Like a lion
stalking prey, one should move carefully and quietly and pounce at the opponent with a
strong decisive attack when an opening appears.
追加の – Tsuika no
我⼩⼑中正眼。⻑袴、猛⻁⼀声にし響く。敵斬り込みに双吼の気合いにて⼀歩前
進。虚空を乱し敵無敵の位に。避け裂けの和韻を発し、⼩⼑猛⻁の⽛⽖巨体と化し
威圧する。
Stand in Chuseigan with a kodachi. Clad in a long Hakama, my attack echoes that of the
fierce lion. As the opponent cuts in, step in with a Lions cry. The opponent loses the will to
fight as you corner him like a ferocious lion.
Masaaki Hatsumi Sensei, Japanese Sword Fighting (2013)
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魔法使い道場
Jūji Ken ⼗字剣 Cross Sword
Uke assumes dai jodan no kamae with daito. Tori assumes otonashi no kamae, with the
kodachi in the right hand. Tori evades with yoko aruki to the right. This will expose tori s left
side. Uke cuts with do uchi to the waist on tori's left side. Tori moves forward with the right
foot, and takes hold of the sword hand with the left hand. The kodachi is then thrust into the
shoulder or the side of uke.
⾻‐Kotsu:
Tori should maintain a calm posture both physically and mentally. Tori should not make it
evident that an opening is being created, rather try to trick uke into believing an opening is
possible. Capture ukes kote without grabbing. Thrust the kodachi into the weak spots in the
opponent’s armour.
戦略‐Senryaku:
The name for this movement comes from the two swords crossing as the opponent is
counter attacked. The movement represents ⼗ (Juu). It is important to remember that this
movement teaches the importance of natural movement. One should ‘flow’ into the
opponents attack as if blown on a breeze.
追加の – Tsuika no
我は両⼿を下げたまま⾳無しの構。強敵来るとも、この様。⽊⽕⼟⾦⽔五⾏中の四
⾏を⽔の勢いにて四⾏を⼗字となし、我が⽔の帥位は⼤⾃然と付化し結ぶ。⼗字を
結し (決死) 捨⼿味⼗字剣の極意を⽣ず。
You stand silently in Otonashi no kamae (the silent posture) with both hands lowered. Even
against a strong opponent you maintain this form. The cross style of this form has a secret
meaning that includes both desperation and sacrifice.
Masaaki Hatsumi Sensei, Japanese Sword Fighting (2013)
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魔法使い道場
⾼⽊揚⼼流 ⼩太刀 Takagi Yoshin Ryu Kodachi
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魔法使い道場
Uen 右燕 Fly to the Right
Uke assumes migi dai jodan no kamae with daito. Tori is in migi seigan no kamae with
kodachi. Tori creates an opening to give uke opportunity to strike. As uke strikes with tenchi
giri, tori counters to the right with right foot, raising kodachi and cutting tori at left uko.
⾻‐Kotsu:
Control the centre line with the sword. Do not allow the opponent to encroach uninvited.
Create an opening but ensure zenshin. While evading, counter cut to the opponent’s neck
simultaneously. Place the body behind the blade. Zanshin is important
戦略‐Senryaku:
The essence of kodachi jutsu is the effective use of ⾶⿃術 hicho jutsu. This movement
teaches the importance of moving through kamae, yet being able to instantly move
powerfully as though taking flight.
追加の – Tsuika no
(** This is applicable to all movements)
With all the following forms, the distance should be initiated by uke. Both uke and tori
should control the centre line with approx. 30 cms between the kissaki. Uke should not feel
pressured by tori’s distance.
Tori should enter and try to press ukes daito forcing uke to withdraw to dai jodan no kamae,
thus initiating the movement.
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魔法使い道場
Saen 左燕 Fly to the Left
Uke assumes migi dai jodan no kamae with daito. Tori assumes migi seigan no kamae with
kodachi. Tori creates an opening and uke strikes with tenchi giri. Step left with left foot and
cut to ukes right uko.
⾻‐Kotsu:
One should present an opening for the opponent to attack yet be in a strong kamae. Do not
evade to far from the opponent. One should make the opponent believe the target has been
struck. Press the cut behind the blade.
戦略‐Senryaku:
As with Uen, it is important to always be in kamae, ready to ‘take flight’ to counter attack
the opponent. Where Uen taught a movement to the right, Saen teaches the same to the
left.
追加の – Tsuika no
(** This is applicable to all movements)
The etiquette used in all these movements should be the same. Uke and Tori should face
one another in battou no kamae 抜⼑之構. Both weapons are drawn to seigan no kamae
⻘眼之構. Both tori and uke drop to hanza no kamae 半坐の構 and bow, lowering the
weapons, before standing and starting the movement.
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魔法使い道場
Irimi ⼊り⾝ Enter with the Body
Uke assumes migi dai jodan no kamae with daito. Tori assumes migi seigan no kamae with
kodachi. Tori creates an opening. Uke strikes with tenchi giri. Tori evades by stepping back
and left with left foot, then stepping in with right foot, thrusting to koe with kodachi.
⾻‐Kotsu:
Control the centre line. Wait for the opponent to commit before countering. Do not step to
far from uke. Manage the distance. Press into the opponent with the sword.
戦略‐Senryaku:
This movement stress the importance of linear technique. The strategy of attacking
headlong, to place the body behind the strike. One should be fearless through this
movement and, using good timing and distance, attack straight into the opponent.
追加の – Tsuika no
In Japanese martial arts, Irimi (⼊り⾝?) is the act of entering straight into a technique, as
opposed to the more indirect entrance into technique called tenkan. In basic training, irimi
usually looks like a step forward, straight or at an angle but usually ending with the body
facing the attacker, rather than in the direction of the step. To enter with irimi, the defender
needs to move in the very moment of the attack or even himself initiate it.
Wikipedia.
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魔法使い道場
Hien ⾶燕 Flying Swallow
Uke assumes migi dai jodan no kamae with daito. Tori assumes migi seigan no kamae with
kodachi. Tori creates an opening. Uke seizes the opportunity and strikes with tenchi giri. Tori
evades strike by stepping left with the right foot in yoko aruki, while cutting upward under
uke’s wrists so the hands end up in jumonji no kamae. Stepping forward and left with left
foot, moving the hands into hira ichimonji no kamae, while cutting harai giri to ukes right
do. Zanshin
⾻‐Kotsu:
Ensure control of the centre line. Wait until uke is committed to the attack before
countering. Cut initially to kote. Good kamae will ensure a strong position for the second cut
to the body. Zanshin is important.
戦略‐Senryaku:
One should not focus upon the opponent, but fly past as though a bird in flight. It is
important to brush past the opponent, striking out, yet ready to move onto other threats or
dangers.
追加の – Tsuika no
The Kawasaki Ki‐61 Hien (⾶燕, "flying swallow") is a World War II fighter aircraft used by
the Imperial Japanese Army Air Force. It was named after its offensive capability and
superior aerodynamics.
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魔法使い道場
Ichimonji ⼀⽂字 Figure One
Uke assumes migi dai jodan no kamae with daito. Tori assumes migi seigan no kamae with
kodachi. Tori creates an opening. Uke strikes with tenchi giri. Tori evades cut by stepping
forward and in with right foot, cutting to uke’s right do. Press blade onto uke and step in
and forward with the left foot to push the kodachi with the body. Zanshin
⾻‐Kotsu:
Entrap uke by creating openings that can be instantly closed. Ensure perfect timing to
evade the attack and position oneself to counter attack. Position the kodachi horizontally as
to pass through the opponent’s body. The kodachi may be pressed with the body or the
foot. Zanshin is important
戦略‐Senryaku:
This movement stresses the importance of cutting horizontally so as to pass easily through
armour or flesh. The kodachi should be representative of the character “⼀(いち)”.
追加の – Tsuika no
(** This is applicable to all movements)
These movements should be practiced at three levels:
表 Omote : Both uke and tori use bokken and practice the forms
裏 Ura : Both uke and tori use shinken. This is a more advanced level of practice.
橋掛 Hashirigakari : Both uke and tori use shinken. The movements start some
distance apart and both opponents run towards each other striking out. The is the
highest level of practice.
Hashigakari 橋掛 is from the Noh theatre. It is a bridge‐way that stretches from the main
stage to the mirror room (where the actors congregate). It is lined by pines on one or both
sides.
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