Koto Ryu is famous for its Koppojutsu. While it has become popular to translate the Japanese Koppojutsu as "bone breaking", the word in fact could be applied to a wide variety of pressure point and weak point attacks.
It should be noted that these attacks are not necessarily the same thing. Weak points can occur within balance, stance, the natural structure of the body, the operation of the individual nervous system and even the mental outlook. This confusion about what is an actual weak point as opposed to a simple sensitive spot on someone's body is one very important reason most martial artists spend their entire life training and still reach only a rather insipid level of skill.
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. Koppo is often associated with koppojutsu or bone attacking, and that's part of it, but now when Sensei talks about Koppo, he is talking about something much deeper.
That being said, it's been very difficult to grasp the full meaning of what Koppo is. Koppo has been translated as "the knack", as in the knack of fighting. This translation is good, but it doesn't convey what the knack is, specifically the knack to which Hatsumi Sensei refers. The way Sensei has been explaining it, Koppo is the dissolving away of techniques and the elimination of intention. One example that he gave involved several sword schools whose foundation was never having the intention of cutting.
This was superior because by not trying to cut, there was never a weakness exposed. The swordsman would move into the weak point of the attacking enemy, placing his sword in the right spot, and due to the characteristics of the blade and the natural movement of the human body, the opponent would actually cut himself. In like fashion by dissolving away your techniques, and intention of applying them, you will eliminate your weak points.
The essence is to simply move into your opponent's weak spot with the proper timing and kamae Of course by kamae, it is meant the complete feeling and spirit that truly is kamae, not just a static physical pose. That's it, no more, no less.
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-l It has been suggested that he was killed in battle in the later part of Whether he took up complete leadership of the school before his death, this is not known. From here, the Ryu was passed down to the famed ninja leader Momochi Sandayu. Frequently, when fractures occur as a result of using martial arts, it is unexpected, unintended and accidental.
Koppojitsu usually is because the person using the technique has insufficient ability and knowledge to prevent the injury from occurring. So the knowledge of Koppojutsu is not only to cause fractures, dislocations, avulsions and disability, it is also to prevent it and even to heal it.
Martial arts have in common with medical knowledge koppijutsu force applied in one direction destroys life and in another heals and protects life. This congruence is not accidental, it is inherent in the destructive and regenerative process for all living things.
We as martial artists and if we happen to be healthcare workers also have to make choices about how to use our knowledge. The careless, reckless, unscrupulous or ignorant healer can koppojuhsu their vulnerable patients in the same way a martial artist can who does not recognize or understand the power hidden in their activities. This raises the question as to whether the teacher of an art should systematically point out the risks associated koplojutsu their techniques.
Some might argue that if students follow the teachings correctly they should not injure their enemies or training partners, and that if it occurs it is better that it be accidental and unintentional. This conveys that the teacher did not intend for their students to cause harm. Others might argue that the dangers of the techniques should be consistently pointed out, such that the student using the technique has the choice and discretion about how to use the techniques.
Then they can use the art as they see fit, and not only that, but if their goal is to survive a potentially dangerous encounter. The teacher should give them all the tools they need to make that possible. It also assumes a higher level of techniqyes and selection of students. This second perspective is the one advocated in the Geijin Ryu. How the students behave is a reflection on the caliber of the teaching and the selection of the students themselves.
In order to understand how Koppojutsu works, a few underlying concepts have to be understood. It also is worth pointing out that in a brief article on this subject, there can only be a perfunctory and superficial level of discussion and that the body of knowledge of Koppojutsu could fill one to two volumes of text with needed copious illustrations.
The principles of Koppojutsu have to do with understanding weaknesses in anatomical bony structures. These change with the body posture. In order to utilize these weaknesses, the structure has also to be made temporarily static. Unsurpassed in scope and detail, this martial arts book covers the spiritual beliefs and the practices of the fighting arts of India, China, Korea, Japan, Indonesia, the Philippines, Thailand, Brazil, and the United States.
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Traces the history of the ninja, describes techniques of concealment and escape, and demonstrates punches, kicks, and throws. The Koto Ryu techniques are shorter, quick, and straight to the point; the Gyokko Ryu has longer more complicated techniques, and the techniques have more movement.
The Koto Ryu concentrates more on striking, and the Gyokko Ryu more on locks and throws. If both schools are studied completely, the student will know all forms of fighting, including distance, striking, throws, and locks.
Both schools compliment each other and to study only one is to know only half of one of the two schools.
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