Buđinkan Ninđucu Bosna i Hercegovina

KAMAE – PRILAGOĐAVANJE ILI ODUSTAJANJE OD VLASTITOG SISTEMA?
Zoran Mijic
(english text below)

Među mlađim praktičarima Bujinkana ponekad se može čuti ideja da moramo prilagoditi svoj Kamae kako bismo bili sposobni da se borimo protiv savremenih borilačkih vještina.

Ali postavlja se jedno važno pitanje:

Ako promijenimo svoj Kamae da bismo se prilagodili načinu borbe drugog sistema – da li se još uvijek borimo na način koji pripada nama?

Kamae nije samo položaj tijela. On određuje našu ravnotežu, raspodjelu težine, mogućnosti kretanja, zaštitu, uglove i način na koji možemo započeti sljedeću akciju.

Ako ga napustimo zato što želimo da prihvatimo distancu, ritam i način kretanja modernog borca, mi se zapravo odričemo dijela vlastitih prednosti.

Umjesto da protivnika dovedemo u situaciju u kojoj naš način borbe funkcioniše, mi pristajemo da se borimo pod njegovim uslovima.

To ne znači da tradicionalni Kamae treba slijepo ponavljati bez razumijevanja. Naprotiv.

Potrebno je razumjeti zašto je Kamae takav kakav jeste, šta nam omogućava i kako iz njega proizlazi kretanje.

Tek tada možemo govoriti o stvarnoj adaptaciji.

Adaptacija koja proizlazi iz razumijevanja nije isto što i odustajanje od vlastitog sistema.

Ne treba mijenjati Bujinkan da bi izgledao kao savremene borilačke vještine.

Treba razumjeti Bujinkan toliko duboko da njegovi principi mogu odgovoriti i na savremeni način borbe.

Kihon nije ograničenje. Kihon je osnova iz koje nastaje sloboda.

KAMAE – ADAPTATION OR ABANDONING OUR OWN SYSTEM?

Among younger Bujinkan practitioners, there is sometimes an idea that we need to modify our Kamae in order to be able to fight against modern martial arts.

But this raises an important question:

If we change our Kamae in order to adapt to the way another system fights – are we still fighting according to our own principles?

Kamae is not simply a body position. It determines our balance, weight distribution, possibilities of movement, protection, angles, and the way we can initiate our next action.

If we abandon it because we want to adopt the distance, rhythm and movement of a modern fighter, we may actually be giving up some of the advantages our own system provides.

Instead of bringing the opponent into a situation where our method works, we agree to fight according to his conditions.

This does not mean that traditional Kamae should be repeated blindly without understanding.

Quite the opposite.

We must understand why the Kamae is structured the way it is, what it allows us to do, and how movement develops from it.

Only then can we speak about genuine adaptation.

Adaptation that comes from understanding is not the same as abandoning one's own system.

We do not need to change Bujinkan so that it looks like modern martial arts.

We need to understand Bujinkan deeply enough that its principles can respond to modern methods of fighting.

Kihon is not a limitation. Kihon is the foundation from which freedom emerges.

Gyokko Ryū Kosshijutsu Jō Ryaku no Maki consists of twelve kata that cover a broad range of combative situations, including combinations of punches and kicks, clothing grabs followed by strikes, as well as various attacks from behind such as collar grabs, chokes, and underarm body holds. Through these kata, the practitioner develops an understanding of combative distance, angling, disrupting the opponent's balance, and the precise application of kyūsho.

A characteristic feature of many of these kata is that they begin from a very close combative distance, where the opponent has already established contact or poses an immediate threat. As the technique unfolds, this initial distance gradually increases, creating the space necessary to gain control of the opponent and execute the concluding phase of the technique more safely.

In some lineages and methods of instruction, certain kata begin with the performance of Inzō (印相)—ritual hand seals that should not be understood as mere ceremonial gestures, but as a means of harmonizing breath, intention, and body structure before movement begins. In this way, the first level of Gyokko Ryū already emphasizes that correct technique arises not only from physical movement, but from the unity of mind, body, and intention.

The initial close distance is not accidental. It teaches the practitioner not to seek safety by retreating, but to create safety within danger itself through correct sabaki and changes of angle. Only after control has been established does the distance naturally increase as a consequence of the properly executed technique.

Jō Ryaku no Maki forms the foundation upon which the higher levels of the school are built, introducing the practitioner to the fundamental principles of movement, timing, kyūsho application, and distance management that will gradually develop into increasingly sophisticated combative methods throughout the subsequent levels.

Kosshijutsu

The unarmed combat system of Gyokko Ryū is founded upon Kosshijutsu (骨指術), a method of combat that emphasizes circular movement around an opponent's attack in order to obtain the most advantageous position from which to strike the kyūsho (vital points). These targets include nerve centers, vital organs, and anatomically vulnerable areas such as joints, tendons, and muscular attachments.

The term Kosshi is composed of the characters 骨 (hone), meaning bone, and 指 (yubi), meaning finger. Symbolically, this reflects the use of precise finger strikes and refined body mechanics directed toward the body's vulnerable structures rather than relying solely on physical strength.

Gyōun Ryūsui – Moving in Accordance with Nature

The techniques of Gyokko Ryū follow the natural laws of movement and change. Their expression resembles clouds drifting freely across the sky—without force or resistance, yet always in harmony with their surroundings.

For this reason, daily training places great emphasis on bringing the body, mind, and breath into alignment with the natural flow of movement. Through years of disciplined practice, the practitioner gradually internalizes the principles of the ryū. Movement then becomes spontaneous and effortless, like clouds carried by the wind. At this stage, techniques are no longer fixed patterns to be recalled but natural responses that arise according to the circumstances.

This understanding represents more than technical proficiency; it leads to a deeper appreciation of nature's principles, harmony with one's environment, and ultimately a way of life that reflects the essence of Budō.

Kawashi – Crossing the Line of Attack

One of the defining characteristics of Gyokko Ryū is its distinctive method of movement known as Kawashi (kawasu). Its purpose is not merely to evade an attack but to reposition the body so that one's own line of movement intersects the opponent's line of attack at the precise moment.

It is at this point of intersection that the practitioner gains the initiative, establishes the most advantageous angle, and creates access to the opponent's kyūsho. Evasion and counterattack therefore become a single continuous action, allowing movement to flow without interruption or unnecessary expenditure of energy.

This principle is a practical expression of Gyōun Ryūsui (行雲流水)—"moving like drifting clouds and flowing water." Rather than opposing force with force, the practitioner adapts naturally to the attack, blends with its direction, and transforms the opponent's movement into an opportunity for decisive action.

Gyokko Ryū
Shiron (Historical Discussion) – 史論
Mijic Zoran

The history of many traditional martial arts schools cannot be fully reconstructed, as their teachings were transmitted orally for centuries. Throughout this process, names, historical periods, and specific events were often confused or merged. The history of the Gyokko Ryū tradition is no exception. In this chapter, I will attempt to present its development based on the available written sources and the oral tradition (kuden).

To understand the origins of Gyokko Ryū, it is necessary to examine the historical developments that took place in Korea, China, and Japan during that period.

According to the oral tradition (kuden), Cho Busho was one of the individuals who laid the foundations of what would later become known as Gyokko Ryū Kosshijutsu. He is said to have been a high-ranking military officer from Kudara.

Kudara (百済) is the Japanese name for the ancient Korean kingdom of Baekje (백제), which was located in the southwestern part of the Korean Peninsula. Baekje was one of the Three Kingdoms of Korea and was renowned for its military strength, flourishing trade, and its important role in transmitting Buddhism and Chinese culture to Japan. After years of conflict, the kingdom fell in 660 CE to the allied forces of the Silla Kingdom and the Chinese Tang Dynasty.

Closely connected with the name Kudara is the Japanese clan Kudara no Konikishi, founded by Zenkō, the son of King Uija, the last ruler of Baekje. The name Kudara identified their place of origin, while Konikishi (also read Kokishi), literally meaning "king," was a special kabane (hereditary noble title) granted to members of the former royal families of Baekje and Goguryeo, including the Kudara, Shōna (肖奈), and Koma (高麗) clans.

According to the oral tradition, after arriving in Japan, Cho Busho settled in Ise Province near a place known as Tojin Iwa (Karadobuchi – "The Chinese Gate of Deep Waters"). There he is said to have transmitted several martial disciplines to the local population, including Kosshijutsu, Hichōjutsu, Senbanjutsu, Naginatajutsu, and Karauchijutsu.

His son was Chu Busho, whose Chinese name was Zhang Wu Sheng. The historical traditions surrounding Gyokko Ryū also mention a princess named Yao Yu Hu (姚玉虎), who became known in Japan as Yo Gyokko.

According to the tradition, these individuals brought to Japan not only their combat experience but also various fighting methods and technical knowledge, including Karauchijutsu (唐打術), literally "the art of Chinese striking," a term used at the time to describe martial methods associated with Chinese systems of combat.

Hitori Keiko – The Heart of Solo Training
Zoran Mijic

Hitori Keiko (一人稽古), or solo training, is one of the most important aspects of Budō practice. However, many young and inexperienced practitioners believe that meaningful training is almost impossible without a partner or an instructor. While this assumption is understandable, it ultimately limits their progress.

Hitori Keiko is far more than repeating techniques in empty space. Its essence lies in the practitioner's ability to create a real opponent through visualization. During training, one must clearly perceive where the opponent is, how they move, the line of their attack, their intentions, and how they are likely to react to every movement.

Every technique should be performed as a response to a real, although imagined, combat situation. Without this level of visualization, movement becomes an empty form and techniques lose their Budō meaning. When the mind creates a vivid image of the opponent, the body naturally develops correct timing, proper distance (maai), appropriate angles of movement, and the ability to enter at the right moment.

For this reason, Hitori Keiko is not merely physical practice. It is the training of the body, the mind, and perception. The practitioner learns to think through movement, develops an awareness of space and timing, and becomes independent of constant partner practice.

The time spent in the dōjō is only a part of the learning process. True progress takes place between regular classes, when the practitioner trains alone and takes complete responsibility for their own development. Hitori Keiko cultivates discipline, honesty toward oneself, and the continuous refinement of Budō principles. The clearer the visualization, the closer solo training comes to the reality of combat.

九鬼神傳流八法秘剣歴史
Kukishinden Ryū Happo Biken Rekishi

Izumo Kanja Yosh*teru 出雲冠者義照 se smatra osnivačem Kukishinden ryu Happo Biken tradicije. Izučavao je Kijin Chosui Ryu (澄水流打拳體術). Prema kazivanju bio je poražen najvjerovatnije tokom Hogen pobune ( 保元の乱 Hōgen no ran - 1156) od strane Fujiwara no Tadamichi 藤原 忠通. Fujiwara Tadamichi je bio član politički jakog Fujiwara klana i stao je na stranu cara Go Shirakawa (後白河天皇). Tadamichi je bio najstariji sin japanskog regenta (Kampaku) Fujiwara no Tadazane. Njegov brat je stao na stranu cara Sutoku (崇徳天皇).

Kada je bio poražen Kanja Yosh*teru se povukao u pečinu pod imenom Shishime Dokutsu u provinciji Izumo (vjeruje se da je radi toga dodao naziva Izumo na svoje ime) gdje je sreo borilačkog majstora iz kineske dinastije T’ang po imenu Tetsujoso (Tie Zhang Seng) koji ga je učio borenju sa Bisento. Tri godine kasnije tj. 1159 godine on se priključuje snagama Minamoto Genji ali kada su bili poraženi on bježi u Kinu gdje nastavlja izučavanje borilačkih vještina. Po povratku u Japan uspostavlja tradiciju Kukishinden Happo no hijutsu. Izumo Kanja Yosh*teru je prenjeo tradiciju na Izumo Koshiro Terunobo.

Kukishin-ryū (九鬼神流) koji je osnovao Yakushimaru Kurando Takezane je tradicija sama za sebe

Kata becomes ‘unnecessary’ only when it is no longer needed as a means of learning, because its principles have become part of the practitioner themselves.”

忍辱精神

忍者精神とは身心鍛を忍心、忍耐精神を
根本とする。不辱を忍人に恨みを根に去る。
忍耐精神を養う事に始まるものである。
忍とは心の上に刃を置いて刃で人を傷つけ
たりするものではなく、花情和楽、花の如き、
情愛をもって子供を楽しむものである。
故に・・・を以って自然に相手の刃を避け、
姿を減け、虚実転換の妙を得、一朝風の
義とも身を慈に処し、水分型の大自然を
利用して相手を倒す事が忍者の
根本原則である。

Duh ninje (ninja seishin) temelji se na jačanju tijela i duha kroz srce izdržljivosti i duh strpljenja.

Temelj duha podnošenja jeste uklanjanje mržnje i zamjeranja prema drugima.

Duh izdržljivosti razvija se upravo kroz takvu praksu.

„Nin“ ne znači staviti oštricu iznad srca kako bi se njome povređivali drugi.

Naprotiv, treba njegovati sklad, radost i osjećajnost poput cvijeta, te s ljubavlju i nježnošću odnositi se prema djeci.

Zbog toga treba prirodno izbjeći protivnikovu oštricu, razumjeti odnos između stvarnog i prividnog i steći njegovu suštinu.

Postupajući s tijelom u skladu s prirodom i koristeći velike sile prirode, pobjeđuje se protivnik.

To predstavlja osnovno načelo ninje.

On picture is shown last part of Kotō Ryū Koppōjutsu 虎倒流骨法術,
皆伝型 Kaiden Gata (full transmission forms) that contains three forms:
悟心 Goshin – perceptive spirit, to comprehend the heart, intention
一念 Ichinen – determined purpose, resolute intention
活眼 Katsugan – living sight, piercing eye

Following text is transcribed;

右皆伝無残虎倒流骨法術大代相伝
migi kaiden muzan kotō ryū koppojutsu daidai soden

真者也
Shinmono nari

以上之如し玉虎流骨指術忍法二十八代神伝不動流打拳体術二十六代本体高木楊心流柔体術十七代別巻戸隠流忍術三十四代
Ijou no gotoshi Gyokko Ryu Kosshijutsu Ninpo nijūhachi dai Shindenfudo Ryū Dakentaijutsu nijūroku dai Hon Tai Takagi Yoshin Ryu Jūtaijutsu jūnana dai bekkan Togakure Ryu Ninjutsu sanjūyon dai

傅伝皆伝為者也。
denden kaiden tame mono nari

高松寿嗣 Takamatsu Tosh*tsugu
伝 Den
初見 良昭 Hatsumi Masaaki

English text below

Goshinjutsu 護身術 nije samo skup tehnika za odbranu od napada. Ono predstavlja cjelovit pristup zaštiti vlastitog života, zdravlja i dobrobiti. U tom smislu, način na koji živimo, jedemo, odmaramo se, krećemo kroz društvo i procjenjujemo opasnosti jednako je važan kao i sama fizička vještina samoodbrane. Fizička odbrana predstavlja posljednje sredstvo zaštite, a ne njenu suštinu.

Goshinjutsu 護身術 is not merely a collection of techniques for defending against an attack. It represents a comprehensive approach to protecting one's life, health, and well-being. In this sense, the way we live, eat, rest, move through society, and assess potential dangers is just as important as physical self-defense skills. Physical defense is the last resort of protection, not its essence.