The School – Koryu Founded in 1660     

Hontai Yōshin Ryū

Hontai Yōshin Ryū is an ancient school (KORYŪ) of Ju Jutsu and as such is an official member of Nihon Kobudo Kiokai belonging to the Nihon Budokan. The school was founded in the 17th Century in the Oshu region (the current Miyagi prefecture) in the Shiroishi district (Okayama prefecture).

The current headquarters (SOHONBU DOJO) is located in Nishinomiya in Japan, where INOUE Kyoichi Munenori - the 19th generation of Soke - lives and teaches.

The Italian branch is led by Stelvio Sciutto who brought the school to Italy in 1982. During his trip to Japan - invited by the 18th Soke - he pronounced the school oath and in the presence of Soke INOUE Tsuyoshi Munetoshi promised to protect, respect and spread the principles of the Hontai Yoshin Ryu in Italy and in Europe.

The most deserving members of the Italian branch include Giampaolo Serpau, Alessandro Ormas, Barbara Sciutto, Ivan Serpau, Riccardo Baucia and Luca Sciutto, who for decades have been assisting and supporting Maestro Sciutto in its mission to spread the school.

Values and Philosophy

Mon tradizionale della scuola

Traditional School's Mon

The philosophical premise of Hontai Yōshin Ryū lies in its name, which includes the metaphor of the willow - which bends in the storm remaining steadfast on its roots, without ever breaking - embedded in the name of the school by its founder Takagi Oriemon Shigetoshi (born in 1635 )

HON (本) = Efficacy (principle, true, real) 

TAI (體) = Concreteness (body, sobstance, objective, real)

YO (楊) = Flexibility (willow)

SHIN (心) = Integrity of Spirit (spirit, heart, mind)

RYU (流) = School (style, method)

Founded in 1660, the school has so far arrived with an uninterrupted dynastic lineage

Soke Lineage

Oriemon Shigetoshi TAKAGI
2° Soke
Umanosuke Shigesada TAKAGI 
3° Soke
Gennoshin Hideshige TAKAGI 
4° Soke
Kihei Shigenobu OHKUNI
5° Soke
Yakuro Nobutoshi OHKUNI 
6° Soke
Tarodaiyu Tadanobu OHKUNI 
7° Soke
Kihei Yoshisada OHKUNI 
8° Soke
Yozaemon Yoshisada NAKAYAMA 
9° Soke
Jinnai Sadahide NAKAYAMA 
10° Soke
Buemon Hidenobu OHKUNI 
11° Soke
Kizaemon Sadatoshi NAKAYAMA
12° Soke
Kamaji Hidetoshi OHKUNI
13° Soke
Ikugoro Hisayoshi YAGI
14° Soke
Takeo Masatsugu ISHYA
15° Soke
Matsutaro Masaharu ISHYA
16° Soke
Happeita Masayoshi KAKUNO
17° Soke
Saburo Masanori MINAKI
18° Soke
Tsuyoshi Munetoshi INOUE
19° Soke
Kyoichi Munenori INOUE

The principles of Hontai Yoshin Ryū have been faithfully handed down by 19 generations of Sokes.

Disciplines e influences

A "differen" Ju Jutsu School

Hontai Yōshin Ryū is a school of Jū-Jutsu that - in addition to bare-handed techniques - is known for its specific skills in using weapons such as:

  • Kodaci: short sword 
  • Bōjutsu: long stick
  • Hanbo: short stick
  • Iaido: sword

In fact, since its foundation, the Hontai Yōshin Ryū has absorbed influences from different schools by incorporating a large set of technical skills into its martial curriculum. A significant influence at the beginning of the school's development was made by Take (no) Uchi Ryū especially with regard to weaponsless techniques.

Even KODACHI has always been an important part of the school, in fact the typical skills of Kyochi Ryu Sojutsu and Muto Ryu Kodachi have become part of the school since the beginning as they were studied and practiced by the founder of Hontai Yōhin Ryū.

The Kukishin Ryu is the origin of the Hontai Yōshin Ryū Bōjutsu who was in turn influenced by the Tendo Ryu Naginata, being the naginata school studied by Kihei Shigenobu OHKUNI (4th Soke Hontai Yōshin Ryū).

4° Soke - Okuni Kihei Shigenobu

He was originally a teacher of Tendo Ryu Naginata Jutsu and one day, while he was praying to the ancestral spirits, he had a mystical vision in which nine evil spirits (Oni) attacked him without warning.

During the fight the demons broke his naginata, leaving only the wooden support in his hand - a kind of long blade-less stick.

Kihei, with the remaining piece, managed to beat the demons, killing all nine evil spirits and remaining miraculously unharmed.

From that spiritual view, Kihei developed the techniques of bojutsu (long stick) which he called Kukishin Ryu Bojutsu.


The "Gentle Art"

The term "Ju" indicates softness, compliance or kindness and this can create a misleading idea.

Certainly the techniques are based on the principles of flexibility and softness to redirect and contrast the strength of the opponent, but this does not mean that they are "yielding" or "kind". Kindness and strength go hand in hand as two natural complements creating the basis of JUJUTSU: soft and hard, Ying and Yang (in Japanese, In and Yo).

Although initially the softness is a great way to redirect the opponent's attack, this is usually followed by an appropriate application of force in the final phase, to overwhelm the opponent

The prerequisite to use force correctly is the total relaxation of the body to move quickly and concentrate the use of force only at the moment of impact - or in those parts of the technique where it is needed.

Therefore, when practicing, the emphasis on being relaxed is important not because strength is wrong, but because improper use will limit the ability to perform the technique by creating tension (contracted shoulders, stiff knees, tense muscles), limiting amplitude and speed of movement.

Although many people say that the philosophy of JU JUTSU comes primarily from Chinese Taoism, we must stress the importance of natural selection made on the techniques that we received, which were tried and tested for their effectiveness in bloody periods in which it was still possible to fight really.

Basic principles

The techniques of Hontai Yōsin Ryū are based on the principles of the JU JUTSU ROPPO - that is the 6 key principles on which Ju Jutsu techniques are built: GYAKU (逆), NAGE (投), ATE (当), SHIME (締), TORITSUKE (捕付), KATSU (活) - Lets see them one by one: 

1- GYAKU (逆)- Blocking (joints) with reverse movements

Gyaku, or "joint locks", is one of the characteristics of the ju jutsu schools. In spoken Japanese, gyaku means "opposite" and in budo refers to manipulation of joints in the opposite direction to their normal range of motion.

A certain notion of anatomy is needed to understand the line on which the force can be optimally applied to a joint.

It is no coincidence that many ju jutsu teachers have chosen to become chiropractors or osteopaths in their professional life in the past. This is also the case with the Hontai Yoshin-ryu, in which several high-level masters used to be bone experts (such as Suburo Minaki - 17th Soke. Read the history of the School 

2- NAGE (投) - "throws" 

nage, in the mind of most people it is associated with the term "projection", but it is misleading. Probably due to the emphasis placed on judo projections - derived from ju jutsu - this term (projection) is often associated with the opponent's loading and then discharged to the ground. This sometimes leads to technical misunderstandings.

Although throwing techniques (nage waza) are frequently used in Hontai Yoshin-ryu, they never include the loading of the opponent, but the dynamic use of the imbalance associated with correct timing very often in combination with joint closures (gyaku) or blows to the body (ate waza).

3- ATE (当) - hit, strike

ATE – (blow to the body). Although the athem (which affects the opponent's body) can be used to cause damage, it can also be a way to break the balance - Ate kuzushi - or to attack the vital points of the opponent (kyusho). This is much more effective than just an occasional blow to a non-specific target.

However the Ate waza - the techniques for striking - are not always present in the kata. They are often part of hidden techniques (ura waza) that are not accessible to those who know the kata only superficially (or who practice it by imitation).

The omission of ate waza in kata, as well as having a strategic role (ie not sharing all the secrets of the school with strangers), also has an educational reason.

By limiting the use of atemi, in fact, the student is urged not to trust too much the imbalances (kuzushi) accentuated by the blows. Thus, performing the kata in its purest form, it is obliged to look more closely at the true lines of imbalance, becoming more skilled.

4- SHIME (締) - choke, strangle

Shime -(or suffocation) consists of compression of the upper airways and / or compression of the main blood vessels that reach the head.

These techniques are not taught publicly as they can be dangerous and require some degree of technical and intellectual maturity. Even in training, inappropriate use of force can lead to unconsciousness or even death.

Furthermore, Shime is an important part of the traditional transmission (den) of the Hontai Yoshin-ryu and cannot be disclosed or publicly shown outside the private circle of the Densho appointed by the school's Sokes.

5- TORITSUKE (捕付) - capture, immobilize, tie

TORITSUKE or capture the enemy - consists in making the opponent helpless and unable to move. Includes reversal techniques, immobilization, and binding of the opponent. Most of these teachings are also part of the Den broadcast, although some bases are included and taught in school kata. 

5- KATSU (活) - rianimation

katsu - (or resuscitation). It consists of resuscitation and recovery techniques. Traditionally they were taught to revive practitioners who used to faint during Shime training. Also also part of the traditional teachings (den).

Traditional  Kata

The principles described above are studied with the execution of KATA (形), which are pre-established situations in which the student learns the correct management of technique, distances and timing. They are performed by two people according to a set pattern of attacks with which Uke (the one who receives the technique) attacks Tori (the one who executes the technique).

In addition to representing the historical memory of the school, KATA are an important tool for transmitting and teaching students who learn to apply its principles in a "safe and secure environment", limiting at the most injuries, damages and injuries.

In Koryu (流)  the techniques transmitted over the centuries are the result of a "natural selection" that have passed the battlefields, and therefore, in the martial curriculum of the school only the ones that worked remained, while were promptly discarded all that turned out to be ineffective.

The techniques (or principles) thus obtained have been collected in KATA to be remembered, perfected and handed down to future generations. Given the combative assumptions of the environment in which they were born, the only alternative to learning through Kata would be a real fight. Not very practical nowadays (*).

[(*) In modern budo things are quite different in that many rules and limitations have been introduced to avoid damage and harm allowing friendly confrontation, like randori in judo and ju-kumite in karate.]   

This combative nature of the techniques has been incorporated in the Kata and this aspect must always be kept in mind during the study, otherwise there is the risk of stereotyping and distorting the techniques making them become a synchronized ballet without any sense.

Later, with the advancement of technical skills - and only after having perfectly learned the basics of kata - Uke can progressively increase the veracity of the attacks, diminish its neutrality of attitude, coming to actively oppose Tori.

In this way the study moves more and more towards the real application of the Kata technique that will have to be arranged and adapted according to the unpredictability of Uke's reaction.

This kind of training, however, is reserved only for the more advanced students who have already gained a certain technical and intellectual maturity, to avoid injuries and minimize the possibility of dangerous accidents during training.

Martial Curriculum

- Hontai Yoshin Ryu -

Before going into the heart of the subject, a premise is necessary to understand the real technical scope of the kata. Without this premise, some suspects of little cultural depth (or inexperienced), could interpret as well forms that are impractical or unrelated to the reality of the road.

Very far from the truth ...

The generations of Sokes that have succeeded each other over the centuries have gone through many battles, battles, and wars by training and developing their own technical sequences through a myriad of different situations.

This led them to inscribe in each kata - even the most basic - many different meanings, expanding them more and more with all the things learned during the clashes.

The result of this is a deep and complex stratification of different meanings within the kata, which brings with it an enormous and variegated technical content steeped in the very fabric of the kata.

In a nutshell, every technique of every kata contains - hidden within it - many variations, strategies, movements, applications, Ate Waza and Kyusho that are omitted in the basic form.

In fact, when we talk about kata, we refer to the concept of TATEMAE (て 前) or OMOTE () which refer only to the exterior facade of the true meaning of the technique. In contrast to these two concepts, we find HONNE (本 音) - realistic, truthful - and URA () - reversed, posterior, hidden - which represent the true meaning of the technique which is reached only after several years of personal study of the kata.

This is how kata was conceived for two reasons:

  1. maintain and preserve the secrecy of the "true" teachings - avoiding that they went into the hands of rival clans or could be understood by other enemy schools
  2. give the opportunity to new learners to learn the principles of school without being overwhelmed by too many technical details, giving them a gradual progression in learning and understanding kata.

This process of training and teaching ideally requires several years of constant practice and served to discourage potential spies from other schools that would have been interested in sneaking in among the real students.

The same master rarely gave explicit or in-depth explanations of the principles, on the contrary he merely confined himself to demonstrating the technique by patiently waiting for someone to arrive alone at the squaring of the circle.

According to the Japanese tradition, in fact, understanding and elaborating to reach the true meaning (honne - ura) was considered the task of the student, who - with his tenacity and determination - showed fidelity, respect and devotion to the school.

A kind of natural selection, surpassed only by the most deserving and enterprising. This is the way of traditional Budo.


Wanting to give a structure more readable and usable to the martial curriculum of the school, we divide the Kata with bare hands by the armed Kata into two macro categories

– TOSHU Kata (徒手形) – Bare hands Kata 

– EMONO Kata (得物形) – Weapons Kata (Bo, Hanbo, Kodachi, Iaito) 

The 3 basic Toshu-kata are:

  1. GYAKU no kata (逆の形) - the kata  of opposite movements and joint locks 
  2. NEGE no kata (投の形) - the kata of "throws" of the opponent
  3. OKU no kata (奥の形) - the inner  kata

These kata have a sequence of fixed attacks that are always the same - called KOOKEGI (攻 撃) - which include a set of 10 different attacks to simulate all (or the vast majority) of possible situations. It is obvious that all non-coded nuances, variations or randomness fall within the practical application of the specific technique.

To be clear, the techniques of kata from rear grip (taken from behind) can be adapted to all the nuances of attack: above the arms, under the arms, with hands behind the neck, etc. ... Same thing for the fists: direct, circular, monntante etc ... and so on for all the others.

Attack sequence for basic kata:

  1. KOTE (小手) Wrist grip
  2. RYŌ GOTE (小手) - Double wrist gripp
  3. KEKOMI (蹴込み) - Front kick
  4. KATA ERI (方襟) - Collar grip with one hand
  5. RYOO ERI (両襟) - Collar grip with two hands
  6. HAIGO (背後) - grip from behind
  7. MEN TSUKI (面突) - direct punch to the face
  8. MEN UCHI (面打) - Top Fist to the face (like hitting from above)
  9. KOBUSHI ATE (拳当) - Direct punch to the solar plexus
  10. NUKI UCHI (抜打) -Slash to the face with e side of the hand

GYAKU no kata

It is the first kata to be taught in the school and, at first, it is performed in a very basic way to allow the novice to concentrate on the "true" line or direction of his movement.

The kata consists of 10 defensive techniques that aim to take control of the opponent with the help of levers and articular closures obtained by manipulating Uke's joints with forces in opposition to their normal range of motion.

NAGE no kata

Taught after GYAKU, it consists of 10 techniques in which the opponent is thrown to the ground and controlled with joint levers (gyaku) or struck with percussion techniques (ate waza)

Oku no kata

It is called theinner kata - or of internal movements - but by extension we could also give it the meaning of "deeper", in the sense that it contains within  meanings that deepen the work done previously with Gyaku and Nage.

In fact, although it is still considered a basic kata, it should be studied only after the two previous kata are well assimilated and understood.

Its 10 techniques are a combination of five of the 6 basic principles (*) typical of the JuJutsu of our School known as JUJUTSU ROPPO (柔 術 六法) - gyaku, nage, ate, shime, toritsuke, katsu. (*) <see above: "Basic principles"

The correct execution of Oku no Kata already requires a high level of technical preparation and especially a good executions of taisabaki - movements of the body in harmony with the right timing.

Basic Kata

Gyaku no kata

  1. Ura Gote  
  2. Kuguri Gyaku 
  3. Kekomi Gyaku
  4. Hon Gime
  5. Ninai Gyaku
  6. Tasuki Gyaku
  7. Mae Hiji
  8. Hiji Otoshi
  9. Kote Gaeshi
  10. Ori Komi 

Nage no kata

  1. Kuguri Nage 
  2. Hora Otoshi 
  3. Sukui Nage 
  4. Kasumi Nage 
  5. Atemi Nage 
  6. Seoi Nage
  7. Konoha Otoshi 
  8. Irimi Nage 
  9. Hora Nage 
  10. Mawashi Nage

Oku no kata

  1. Kote Otoshi 
  2. Juji Gyakuù
  3. Ke Otoshi
  4. Ura Gime
  5. Tataki Komi
  6. Tai Otoshi
  7. Kote Ori
  8. Hiji Gime 
  9. Inazuma Otoshi 
  10. Mawashi Otoshi

The 3 advanced katas whose attack combinations differ from the three basic kata are also part of the TOSHU-kata

  1. TANTO Dori (短刀捕) - Knife difence
  2. TACHI Dori (太刀捕) - Sword difence
  3. OMOTE no kata (表の形) - The oldes kata in the School (and the most challenging) 


It takes its name from the Japanese dagger called "Tanto" (短刀). Its a series of 10 techniques in which Tori defends himself against uke's attacks: 7 frontal attacks directed at the torso and 3 from the top towards the heart.


The Kata is composed of 5 defense techniques against various sword attacks - attack from above, front and extraction - and takes its name from the sword with which Uke attacks tori - the Tachi.

The Japanese sword is commonly referred to as the Katana (a term that comes into use only after the beginning of the Edo period). Previously it was called Tachi, it was worn "upside down" - with the blade downwards - and tied with "ropes" to the belt of the warrior (typical arrangement of the warriors on horseback even after the Edo era).

 Although our school was born in the Edo period, the principles of this Kata have their roots in an older past, so the name Tachi was retained to evoke its origins.

OMOTE no Kata  

This is the oldest Kata present in the school's curriculum and embodies all the principles on which Gyaku, Nage and Oku no kata were then built.

It is extremely challenging and complex and hides within it a very wide and deep stratification of meanings not easily readable in a first study. Here the concepts of Honne and Ura have taken on a crucial technical relevance that must be understood, gutted and carefully studied in the smallest details.

 It is a very advanced kata that requires a deep understanding of the principles of the school and requires excellent movement skills (TAI SABAKI 捌 捌 き), otherwise it can be trained only in its most basic and superficial form (TATEMAE and OMOTE, to be precise) .

Advanced Kata

tanto Dori

  1. Hiki Otoshi
  2. Kekomi
  3. Kote Gaeshi
  4. Kuguri Nage
  5. Kuguri Otoshi
  6. Shin No Ate
  7. Hora Nage
  8. Hiji Gime Otoshi
  9. Ranpu Otoshi
  10. Zanshin

Tachi dori

  1. Hiken
  2. Kokuu
  3. Kime Gaeshi
  4. Hien
  5. Ichimonji 

omote no kata

  1. Kasumi Dori
  2. Hora Gome
  3. Karami Dori
  4. Kyotö
  5. Kata Munadori
  6. Ryö Munadori 
  7. Oi Kakedori
  8. Kaigo Kudaki
  9. Iki Chigai 
  10. Yü Gyaku
  11. Ranshö
  12. Kobushi Nagashi 
  13. Hiza Guruma


With EMONO Kata (得物形) we call the kata using weapons. In this category we can find:

  • Kodachi (小太刀) - short weord 
  • Bōjutsu (棒 術) – stick art
  • Iaijutsu (居合術) - sword art 

The study of these kata brings with it a greater understanding, use and management of distances between tori and uke. The strategic concept of space management - MA (間) - is even more important here because the distances (and their strategic use) change depending on the situation and the weapon used.

Practicing EMONO-kata is of fundamental importance the correct development of MA-AI (間 あ い) - literally bridging the distance - which is possible only through an excellent use of the body and its proper movements (TAI SABAKI).


The KODACHI - or short sword - has always been an important part of the school since its foundation. The same Oriemon Takagi - the founder - studied and practiced the Kyochi Ryu Sojutsu and the Muto Ryu Kodachi, schools from which the Hontai Yōhin Ryū absorbed the typical skills of this weapon.

In the Hontai Yoshin Ryu the Kodachi is studied in opposition to an opponent with the long sword.

The existing katas are 3:

  1. OMOTE no kata (表の形) – basic movements
  2. URA no kata (裏の形) - variation of  Omote in wich the  kodachi is used to hit instead of cutting 
  3. HASHIRI GAKARI no kata (走り掛りの形) – advanced version in wich tori and uke ran towards each other

OMOTE  no kata

It is the basic version of the kata movements.

It is important not to be confused by the definition "basic version" associating it with the concept of "easier". In fact, although the movements of the kata are actually simple to perform, they are not at all easy to perform correctly.

The most important lessons that the kata wants to teach do not concern the technical gesture in itself, but on the contrary relate to the time, distance, strategy and strength of the intention that every good samurai must develop to survive in battle.

If we we to use even one of these key factors in teh wrong way, the adversary would have the best and - if we were in the medieval reality - we would be destined to certain death.

URA no kata 

This kata represents a further difficulty. It is very similar to omote, but with a variant, the kodachi is not used to cut but only to hit the opponent, imagining to save his life. It is necessary to develop a good "hand game" - in addition to all the skills of omote - to be able to correctly handle the weapon while moving and performing the techniques.

This kata recalls the historical situation in which - during a duel - the weaker opponent is given a chance to withdraw unharmed.

Historically, in fact, when one of the two challengers was objectively more skilled, experienced and capable of the other, he tended to spare his opponent's life, forgiving him the unconscious naivety. Hitting instead of cutting, Ura no kata symbolizes just that kind of situations.


In this version of the kata, the two fighters run against each other to fight in a duel. In addition to the increased difficulty represented by the race, the two practitioners leave with swords sheathed.

The techniques are similar to omote, but it completely changes the distance management, the extraction time and the strategy necessary to get the better of the opponent. This kata is definitely one of the most difficult to fully understand because the implications hidden within it are many and sometimes elusive.


Omote no kata

  1. Uen
  2. saen
  3. irimi
  4. hien
  5. ichimonji

Ura no kata

  1. Uen
  2. saen
  3. irimi
  4. hien
  5. ichimonji


Hashiri Gakari no Kata

  1. Uen
  2. saen
  3. irimi
  4. hien
  5. ichimonji
It is not a mistake, the three kata have the same nomenclature. However, some factors change within the techniques.


The art of stick fighting, in particular the long stick - CHO BŌ (長 棒) - has become part of the Hontai Yoshin Ryu since the Fourth generation of Soke - SOKE Okuni Kihei Shigenobu - which integrated the techniques of Kukishin-ryu developed by him in the curriculum of the school and since then they have continued to perfect themselves exclusively within our school, becoming the Hontai Yoshin Ryu Bōjustu.

In the Hontai Yoshin Ryu we study the use of two types of sticks:

  1. Long Stick – CHO Bō (長棒) also called ROKU SHAKU BŌ – literally: 6-shaku stick which was a disused Japanese unit of measure (1 shaku = 10/33 of a meter; about 30.33 cm). In fact, the Cho Bō measures 182 cm (6x30.33).
  2. Short Stick – Hanbō (半棒)
    literally: half Bō, or 91 cm. Nowadays, also given the different stature of the Europeans compared to the Japanese of the 1600s, it is quite common to use a Hanbō of about one meter.

Although both are part of the same "category" of weapons (both sticks) their use requires a completely different set of skills.


One of the peculiarities characteristic of the ChoBō style of our school is the sliding of the hands up the whole length of the stick. A skilled TE SABAKI (手 捌 き) - or hand control - on the stick is a fundamental skill for the correct execution and study of kata.

The curriculum includes:

  • 10 variations of  KAMAE (構え) or "guard" postures,
  • 8 Kihon (基本) o basic technics,
  • 12 combinations of  Bō Awase (合わせ),  
  • 10 tecnics of  Cho Bō Kumidachi (長棒組太刀).

The practical complexity of using the stick requires the student to progress in the study with the exact order just described. This allows a gradual understanding and absorption of the correct dynamic of movement limiting to the maximum the vices of form (which in reality of 1600 would certainly have led to death during the fight).

Today, complying with this study order guarantees better results, faster and more precise, limiting to the maximum the accidents - even serious ones - that can occur during a tight training.

After having memorized the basic (static) positions, we move on to the dynamic learning of the techniques that are learned with a slavish repetition of the Kihon (基本) - basic movements without an opponent - which forces the student to absorb the right sequences of movements perfecting the technical gesture.

We then move on to the application of those techniques against an opponent who has the sole purpose of giving a spatial reference. In doing so you learn to manage the distance and the width of the shot.

The last step is to train the kata which is composed of 10 stick techniques against sword attacks. It is not possible to go directly to the study of kata without first mastering Kihon's techniques perfectly, otherwise - in addition to appearing awkward and clumsy - there is certainly a risk of getting some serious bruising during training.   

Cho Bō



  1. Kowaki
  2. Seigan 

  3. Nito
  4. Fudo
  5. Sage Bo
  6. Ipponsugi
Funa Bari
  9. Shiba Moguri
  10. Zanshin



  1. Uchi Komi
  2. Harai
  3. Sukui
  4. Tsuki Ue
  5. Tsuki Shita
  6. Nagi Sune Uchi
  7. Nagi Age
  8. Furibo



  1. Uchi Komi
  2. Harai
  3. Sukui
  4. Tsuki Ue
  5. Tsuki Shita
  6. Nagi: Sune Uchi
  7. Nagi: Nagi Age
  8. Mawashi Uchi
  9. Mawashi: Sukui Tsuki
  10. Funabari
  11. Funabari Renzoku
  12. Tsuke Iri



  1. Ipponsugi
  2. Shibamoguri
  3. Tachimogi
  4. Kasa No Uchi
  5. Hazushi
  6. Kokuu
  7. Taki Otoshi
  8. Funabari
  9. Nagi Ranpuu
  10. Tsuke Iri


Although influenced by the Kukishin-ryu, the use of Hanbō in Hontai Yoshi Ryu is a clear example of how different skills can be combined to create something truly effective. Hanbō combines three different skill sets resulting from as many facets of the school's curriculum.

  1. hand movement control - TE SABAKI (手 捌 き) - derived from the Cho Bō
  2. foot movement control - ASHI SABAKI (足 捌 き) - derived from the Kodachi
  3. tactical control of the typical Jujutsu situation

Mastering this weapon is possible only after a good knowledge of ChoBo, Kodachi and Jujutsu and at the same time it is necessary to have fully understood the 6 fundamental principles of Jujutsu Roppo (gyaku, nage, ate, torisuke, shime, katsu).

A good example of this is for example Hanbō Oku - an advanced kata - which combines 5 of the 6 principles of jujutsu roppo.

As in the ChoBō, Hanbō also has basic technical and cultural positions and formal kata in his technical / cultural background. The Corriculum includes:

  • 5 variations of KAMAE (長 棒 構 え) or "guard" postures,
  • 7 KIHON (基本) or basic techniques,
  • 3 Kata of 5 techniques each (Omote, Ura, Oku)




  1. Seigan
  2. Gedan
  3. Tate Bo
  4. Hira Ichimonji
  5. Yoko Ichimonji



  1. Uchi Komi
  2. Hangaeshi
  3. Sukui
  4. Harai
  5. Tsuki
  6. Mawashi Uchi
  7. Maki Otoshi
  8. Furibo




  1. Seigan
  2. Gedan
  3. Tate Bo
  4. Hira Ichimonji
  5. Yoko Ichimonji



  1. Nukitome
  2. Hajiki
  3. Migi Makiotoshi
  4. Hidari Makiotoshi
  5. Momiji Midare


  1. Unryu
  2. Koho
  3. Yooryuu
  4. Suigetsu
  5. Hichuu


The art of sword extraction with its techniques is an integral component of many martial schools. The same goes for the Hontai Yoshin Ryu who reinstated the formal teaching of the use of the sword in his curriculum, with the 18th Soke INOUE Tsuyoshi Munetoshi.

The art of drawing katana is also known as IAIDO (居 合 道), a term that became famous at the beginning of the 20th century when the schools of the sword wanted to incorporate the philosophical and cultural component of the name into their name. Budo.

The training routine in the Hontai Yoshin Ryu always starts from Kihon - or basic movements - to enable the student to correct any defects in the shape of his technique, before starting to study kata.

The kihon are 9 in total and include most types of cuts, lunges and parades. Each Kihon ends with CHIBURI and NOTŌ

In the kai of Iaijutsu, one always starts with a state of suffused attention in which the eye does not look at a particular point but captures the entirety of the situation in front of tori - called ENZAN NO METSUKE (a bit like looking at a mountain in the distance) - snatching through the peripheral view of the eye, the whole surrounding environment in one fell swoop.

Then, proceeding with the execution of the technique, the attention becomes gradually more precise and punctual ending with a careful Zanshin. Typically, in fact, the Kata are structured in precise phases through which one passes to perform the technique:

  • KOKYU (): long abdominal breath at the end of which the katà action begins.
  • NUKITSUKE (): cut in sword draw
  • KIRITSUKE (): the actual cut
  • ZANSHIN (): keep the attention with the peripheral view on the surrounding environment, without taking your eyes off the ground opponent who may not yet be dead. Keep the reaction readiness high in case of piecing
  • CHIBURI (): Clean the blood from the blade
  • NOTO (): sheath of the sword

There are 2 types of techniques in Iaijutsu:

  1. I-WAZA (居 業) - kneeling techniques - which includes 4 Kata
  2. TACHI-WAZA (立業) - standing techniques - which includes 3 Kata



1. Karatakewari

wookd chopping

2. Kasumigiri

Cutting the fog

3. Makkogeri

breaking the helmet

4. Kesagiri

cutting along the gi (diagonal)

5. Suigetsu Harai Tsuki 

bathe the moon, banish (the sword), sink (the blade)

6. Iwatsubame

swallow's nest

7. Namikaeshi

break the wave, create undertow

8. Menwari

break or split the mask (head, face)

9. Awasegeri

union of the cuts

The names - and the related translations - are evocative rather than descriptive: they tend to evoke an image that recalls the technical movement


Omote no waza

  1. ichimonji
  2. uen
  3. saen
  4. ura kage

ura no waza

  1. hien
  2. ryuen
  3. inazuma
  4. murasame

IN no waza

  1. omote denko
  2. ura denko
  3. kasumi
  4. tsuke iri

 no waza

  1. unryu
  2. matsukaze
  3. samidare
  4. tatsumaki


Omote no waza

  1. kote giri
  2. nuki gote
  3. kote kage
  4. kote uchi
  5. kote wari

ura no waza

  1. Hidari sodekage
  2. Migi Sodekage
  3. hidari yamiuchi
  4. migi yamiuchi
  5. kibisugaeshi
  6. fudo

oku no waza

  1. hosomichi
  2. renko
  3. sekka gaeshi
  4. konoha gaeshi
  5. yama biko
  6. rampuu
  7. fubuki

You want more informatios? ... Take a look at this pages


La scuola in italia

La scuola Italiana e il M° Stelvio Sciutto EN
Stelvio Sciutto Sensei and the School in Italy  A long trip searching for the origins of ju-jutsuThe ancient roots that sink[...]

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