BASIC TECHNIQUES Methods of gripping the shuriken Bo shuriken Both Negishi Ryu and Shirai Ryu hold the blade in the same way, with a few variations depending upon the type of blade, and other schools follow suit, with a few variations of their own. It is held in the hand by forming a guide with the 1st, 2nd and 3rd fingers. The little finger gives extra support and the thumb holds the blade in place. The feeling of the hand when holding and throwing is said to be gentle, like holding a swallows egg so as not to break it. (see fig. 1). 1). Shirai Ryu In Shirai Ryu, the blade is held with the point outwards towards towards the target, or inwards to the palm, depending upon the distance to be thrown.
Figure 1. Holding the
iken shur iken
of the Shirai Ryu
Fig 2. A variation in the hold of Shirai Ryu, for long bl ades. (U sed wit h permi ss ssion,© Rober t C. G ruzanski ) Gripping
the blade in Negishi Ryu
In Negishi Ryu, the blade is always held with the tip pointing forwards, forwards, and much like the m ethod of Shirai Ryu, it is held in the hand with the fingers acting as a guide, and the thumb locks it i n place.(see fig. 2)
Figure 3. Holding the
shur iken
of the Negishi Ryu
The J ikishin grip Not much is known about J iki shin, and it is suspected that this is a variation in style of a precursor to Shirai or Negishi Ryu. Kashima Shinto Ryu has a particular method of throwing the shur iken with a step of the right foot forwards and a rapid raise and drop of the right arm for the throw, and as the J iki shin method involves the same specific method, it is possible that Kashima Shinto Ryu has in fact preserved the jiki shin throw. The major difference to the above throws is in the way the blade is held (see fig 4). The 3 smaller fingers are curled, while the index finger points out straight, as though making a gun shape with the hand. The blade sits with its butt in the palm and the thumb applies slight pressure from above, downwards, holding it in place on the side of the curled middle finger, and holding the tail down as it leaves the hand. The index finger then rests on t he side of the blade, providing support. The throw is a simple raising and lowering of the arm from the side as a step is taken forward, the arm cuts down as if it were a sword.
Figure 4. Holding the The grip of " kanime" see Advanced techniques
shur iken
in the J iki shin grip
Figure 5. Gripping the shur iken in preparation for "kanime" "Chinese Fist Method" C hugok u Genho This method of holding and throwing a blade is m entioned in Douglas Hsieh's "Ancient Chinese Hidden Weapons", and is also discussed on www.mumyouan.com, which appears to be run by a practitioner of the NInjutsu arts. It appears this method of holding and throwing is peculiar to Teihozan Ryu, and/or Mou En Ryu (said to have originated in China), yet this is to be confirmed. In the Chinese arts, a blade of 9-12 cms is used, but the Japanese arts which utilise this type of throw use a longer blade. The butt end of the bl ade is placed in the centre of the palm, which pushes the blade out through the fingers on the throw. The thumb, index, middle and ring fingertips clutch the sides of the blade, forming a kind guide through which the blade exits. The hand flicks f orward to the target. There are two methods of throwing, called "positive" and "negative" hand, where the hand is either held in a low position with the palm upwards and throws at targets at above horizontal, or held in a high position with the palm downwards, throwing at targets below horizontal. The "negative" hand (shown in fig. 6 below ), is regarded as a "met subushi " (sight remover) attack, as it targets the eyes. The path of the blade, as it leaves the hand is direct, or straight, thus creating a very small profile as it could only be seen from in front of the tip. This makes it difficult to see, as opposed to the Shirai or Negishi Ryu basic throws where the blade is thrown from above the head like a sword cut, therefore making it an ideal met subushi w aza. It is interesting to note that film footage of the late Isamu Maeda Sensei of Negishi Ryu, senior of Satoshi Saito Sensei, who appeared in the NHK documentary on Negishi Ryu shuriken jutsu featuring Yoshinori Kono Sensei, shows him distincly throwing blades in this "Chinese Fist" method.
Figure 6. Holding a
shur iken
in the "Chinese Fist" method
Concealing blades in the hand As mentioned previously, part of the tactical advantage of the shur iken is it's small size and unobtrusive shape, meaning that it can be concealed quite easily, not only on the body for carrying, but also within the hand as a surprise tactic before throwing in battle. Opponents make a v isual judgement of each other before engaging, and the tactics one uses are based upon what one is able t o perceive. S hur iken can be
quickly drawn and deployed, and this surprise change to the battle situation could gain one a valuable few seconds advantage in timing, and thus swing the balance of power in an altercation. This idea follows the fundamental principle of Sun Tzu's Art of War, that of "deceit"; ie. "Attack the enemy where he least expected and prepared" (Chapter 1. V4.) The hands are very expressive parts of the body, they are used in many human activities, and the shape and movement of the hands can often unconsciously betray our intentions. Experiments have shown that an observer relies heavily on the shape and po sition of the hands in relation to each other and the body when trying to determine the intended activity of a subject. These same experiments have also shown that covering the back of the hand and fingers with a flat, dark material not only masks the shape of the hands, but also makes it difficult for the observer to recognise what a person is doing.
When we carry objects in the hand, our hand naturally takes a shape and position about the body that we can readily recognise as being the shape used for carrying. The fingers close into a fist, the skin goes a bit whiter than the rest of the parts of the body, due to the contriction of blood from tightening the muscles that are doing the holding. In this way we can see ho w the body can betray our intentions. When the arm hangs by the sides of the body without carrying anything, the muscles are relaxed, the fingers loose and open, and there is no whitening of the skin. In order to carry something in the hand without giving anything away, one must project the illusion that the hand is empty, using these small facts we know about the way we unconsciously do t hings.
Example 1a
Example 2a
Example 3a
In the 3 examples above, the hand shapes and position do not give away the fact that a potentially dangerous weapon is being carried, however, in the 3 examples below, the hand is turned to reveal the weapon and the method of holding it.
Example 1b
Example 2b
Example 3b
In the immediacy of an engagement at battle, we need to m ake quick decisions based on what we immediately perceive, and when situations are changing rapidly, we don't have as much time to think or rationalise, so we rely more on signals given by our subconscious. Our body follows familiar paths of perception, judgement, decision and action, that is, under stress we act more on instinct or unconscious signals than through carefully thought out decisions. Much like a magician performing sleight of hand, we can hide a shur iken in plain view, thus giving us a tactical advantage over an opponent.
H ira shuriken, or shaken
The star and cross shaped shuriken, known as hi ra shur iken, or shaken, use an entirely different principle in flight than do the bo shur iken, as they spin at a rapid rate, and have multiple points which can make contact with the target. There seems to be some dispute over the m ethod of throwing. Dr Hatsumi, current Head Master, or 34th soke of Togakure Ryu Ninjutsu, shows throwing the shur iken as one would throw a small "frisbee", that is, the blade is held horizontally, parallel to the ground, between the thumb and first finger. The wrist makes a flicking action forward as the arm straightens out in front of the thrower's stomach. Several shuriken are held cupped in the left hand l ike a stack of coins, and are passed to the right hand in rapid succession. Shirakami Eizo however, states that this method is wrong, and that the blade is held and thrown vertically, in much the same way as a bo shur iken. (see fig. 5, below )
Figure 5. Holding a hi ra shur iken of the Ninjutsu schools. (1) shows an incorrect method Both types of throw are feasible, however, the latter method can generate much more power. See here for more details on throwing shaken.
Figure 6. Note that the thumb grips the c entre of the blade, holding the blade firmly against the forefinger. This ensures that the blade remains under control during the throw, thus removing another possible variable from the blade's travel to the target.
Throwing S haken As mentioned in the introduction, there are two reported methods of throwing shaken. I haven't had any instruction in throwing the way Hatsumi Sensei described, that being from horizontal, so I won't discuss that method. The throw of the other method, holding the shaken vertically, is similar to the throw with bo shur iken, it is an over-head throw, where the arm moves in a vertical downwards and forwards movement. It is important that the shaken is thrown perpendicular to the ground, and to the target. If it leans over in the throw, air resistance will create an aerodynamic effect against the blade, and it will curl off and raise slightly in its path off target. Even if the shaken is held upright, but is turned sideways in the
throw, that is, not in line with the flat plane between thrower and target, air resistance created by its forward movement will cause the blade to angle off line and drop quickly. (refer to diagram)
Figure 7.. Only when the blade is vertical, and perfectly aligned with the line of throw to the target, will you be able to control the throw with any degree of accuracy. Another cause for inaccuracy with shaken is an asymmetricity between the two sides of the blade itself. S haken have sharpened edges that are sloped much the same way as a knife blade. If the amount of surface area on the sloped edges of each side of the blade are not equal, then there will also be an aerodynamic effect when the blade is thrown.
Figure 8. So if your blade seems to v eer off from straight, even though you are sure of holding it vertically to the ground, and perpendicularly to the target, the next thing to do would be to carefully check the edges of the blade for symmetricity.
ADVANCED TECHNIQUES Throwing the blade in Negishi Ryu Adjusting to distance When adjusting to the variation in distance while throwing in the Negishi Ryu, one cannot make the same simple adjustments possible in Shirai Ryu, where one just needs to turn the blade in the hand. In Negishi Ryu, the hand grip is constant. To make the adjustment to different distances, slight postural changes need to be made, both in the way the hand is held, and the leaning of the body at throw. Leaning the body "When close to a target, lean back on the throw. When far from a target, lean forward on the throw" 1.
On close throws, as the arm sweeps down, pull the torso back at the last moment to add turn to the throw. This causes the shuriken to straighten earlier in the shorter distance, thus allowing a more direct hit. It also has the added benefit of pulling the head back from target slightly, in case the blade miss hits and bounces back. On distant throws, leaning forward on the throw adds the body weight, creating a m ore powerful throw, necessary to cover greater distances. It also has the added eff ect of intensifying the concentration forward, giving the psychological advantage by creating the illusion of being closer to the target. 2. Timing the release "For close targets, release later, for distant targets, release earlier". When the arm is raised in K oso no I , the blade is pointing upwards. In its flight towards the target, the tip tilts forward and straightens in relation to the target, so it is in line with the angle of t rajectory at the moment of, or just before, striking the target. So when closer to the target, the shuriken has less time to tilt in flight, so a late release means that the shuriken is more horizontal as it leaves the hand (see fig 33). When further from the target, the shuriken needs to align with the trajectory just before striking the target, because of this tendency to tilt, so an early release will compensate for this tilt.(see fig 34-35 )
Fig. 33. Late release, and turning the palm, for close targets.
Fig. 34. Mid release for mid-range targets
Fig. 35. Early release, and facing the palm, for distant targets 3. Turning the hand "Face the palm for distant throws, turn the palm for closer throws." The shape of the hand is very important for the trajectory of the blade as it leaves the hand, as this is the last contact with the body to have influence over the blade's flight. Not only does the blade need to be gripped lightly, as though "holding a swallows egg", the hand m ust facilitate a clean, smooth, and even departure called hanar e, from the hand. Early and late releases have different effects on the position of the blade in relation to the trajectory, and earlier releases have a less controlled hold, so their departure tends to be more variable (see fig.35 ). By turning the hand so the palm f aces the target on early release, there is more weight and support behind the blade. For a late release, the blade has already developed velocity, so the grip then tends to require more gentle guidance. By turning the hand so the palm faces to the left in relation to the target, the hand i s really only offering a straight pathway for the blade to depart the hand. The thumb catches on the butt end of the blade as it departs, preventing the blade from turning excessively before reaching the target (see fig 33) In training, one should start at a close distance, and practice late release with the turning of the palm, as basic technique (as shown above in M anji no k at a). As the student becomes more proficient, the distance is increased, and the blade releases earlier in the throw, while at the same tim e, the hand is still facing more to the target. For a long di stance throw, (see f ig 35 ), the blade releases when the arm is still quite high above the head, and the fingers actually seem to stroke the shaft of the blade as it leaves the hand. As it does so, the bl ade is pointing upwards, so that during its travel to the target, the head of the blade "falls" forwards, so that by the time it is about t o align with the trajectory of the throw itself, it strikes the target. If it aligns with the trajectory before striking the target, it will continue "falling", and when it strikes the target, it will have become a dead hit already. N ote:
The "stroking" of the shaft as it leaves the hand is actually a method of applying power to the forward momentum of the blade in the throw, but it has to be done skillfully else it will upset the smooth flight. It seems that the feeling of stroking has less of an upsetting effect, but also it creates a drag effect on the tail as it releases, causing the bl ade not to turn so much. This is why there is the practice of wrapping the shafts with thin twine, then coating it with laquer. It creates a "grippy" surface on the tail end of the shaft, which will enable more pressure to be ex erted on the stroking action on the release. *
Aim When aiming at the target, the basic shape of the aim is to have the tips of the blades in the left hand in line with the eyes and the target (see fig.26, above). However, on a more advanced level, the idea is to try and take aim with the navel, rather than take aim with the eyes. By looking at the target, our focus is outside the body, and our thoughts are with striking the target. Rather, we should feel t he target, by placing our awareness in the navel, and try to f eel some sort of connection between our centre (the
t anden) and the centre of the target. Mr Shirakami relates a story of how his teacher felt confused by this concept, and mentioned this to his teacher, Tonegawa Sensei. The two of them went to the dojo at night, and began to throw shuriken in t he dark. The first blade made the sound of piercing the t arget, then the second blade made an unusual sound. Apparently it had hit the tail of the previous blade. This story illustrates how one can learn the perception of the target by feel, rather than by relying in sight alone. *
Variations in Training Training can be made more interesting, or to focus on particular skills, by varying the training method. One of the basic forms of v ariation is to train on the knees. In several traditional martial arts, training in a number of techniques, called suw ar i-w aza, is still done on the knees. This form of training builds up necessary strength and stability in the hips, and also teaches the body movement to be more precise. The seated form of the throw is called za-uchi , (see fig. 36 ) and can be done directly facing the target, as in a ) - b) or in the stance called t achi hi za, c ) where the left knee is forward and the foot on the ground, and the right knee is back and placed on the ground.
Fig. 36. Z a U chi , or seated throw.
Figure 37. Here the toji form on the knees in t achi hi za, is illustrated . The side throws can also be performed in seated posture. Note that the front throw is performed in either sei za, (full seated posture), or t achi hi za with the right leg back, whereas sideways throws are made in t achi hi za with the left leg back. (see fig. 37 )
Figure. 38 H on uchi , yoko uchi and gy ak u uchi from kneeling posture (t achi hi za )
Throwing from a "still distance" and from a "moving distance" There are training methods for throwing the blade while running, jumping and turning, and also lying down. When the basic form is practiced, the distance is set, and training progresses incrementally from 1 step and beyond. At each step, we throw repetitively until that distance is mastered, then we take the next step back. So arises the desire to be able to throw one step further away. However, we are bound by the throw from a static position, which is a constraint preventing us from being able to throw at any distance. The tendency when throwing at greater distances is to unconsciously add more power to the movement, which in fact adversely affects the technique. Mr Shirakami writes of his teacher Naruse Sensei that even when he was throwing at great distances, his movement was relaxed and appeared as though he was throwing only a close distance, yet the blade flew powerfully and struck firmly. To be able to achieve this, we must overcome our thoughts about distance as being an obstacle.
N ote:
1-3
Figure 39. Multiple throwing can also be practiced while walking. 4 - 5 ar e shown f ro m t he bac k. T he ac tion i s a c ontinuous stepping to t he t hr owers r ig ht side.
shown f ro m t he f ro nt,
Figure 39 shows a method of m ultiple throwing in time with the stepping of the feet. The training method of throwing while running, either forwards or backwards, is another such method. Training at Sei no M aai , or "still distance" lays the technical foundation for Do no M aai , or "moving distance". By training at static distances, one learns the mechanics of the form. When we count the steps and throw, the concept of distance is always at the back of our mind. By training during movement, one is using the form. At each distance, one must make minute adjustments in their technique to have the blade strike effectively, and while static, we have plenty of time to think about the distance and achieve this. But when moving while throwing, at the moment of departure of the blade, our posture and movement has to be adjusted quickly and precisely to allow the blade to strike effectively. This form of training cuts down the time we think about distance, thus decreasing the obstacle that is always at the back of our mind. Eventually, we lose the concept of distance entirely, and merge with the target at the moment we think of throwing, enabling us to throw a blade and hav e it stick at any distance without thought. Rapid throwing .
There is a certain posture with a technique developed for rapid throwing, where the left hand is held above the left eye (see fig 40,), so passing the blade from left to right hands could be done with the raised throwing arm. This allows for the rapidity of throwing blades in succession. There is a phrase from olden times that says "Ikki Goken", which means to throw 5 blades in one breath. A strong or prepared adversary may be able to receive the first blade (ie. deflect or ignore), so it is sometimes necessary to be able to throw several in rapid succession. Before the 1st blade strikes, the 2nd blade should be on its way, closely followed by the 3rd, and so on. W hen we practice the basic form, we are taught to pause and observe momentarily, in zanshin or readiness. This is because we are learning t he throw. But we have to be detached from the throw, and to be able to continue our movement without caring if the blade strikes well or not. The art is in being able to detach ourselves from the throw immediately after the blade has departed the hand, and throw the next, or commit ourselves to the next action.
Figure 40. Posture for rapid throw. (U sed wit h permi ssion,© Rober t Gruzanski ) Throwing the blade during a sword cut There are also techniques that involve throwing shur iken while holding a sword. Because the throwing position of the right hand, and the throwing action of the right hand is the same as the position and action of the right hand as it holds and cuts with a sword, the two weapons can be blended in such a way that they do not adversely affect the movement of each other. There are 5 forms in a k at a called Toj ust su K umikomi no K at a, (see fig. 37 ) where the sword is held as normal by the left hand, and the right hand is held in K oso no I . The throw is made, then the right hand returns to the sword, gripping the handle.
Figure 41. Some of the postures of the Toj ut su K umikomi no K at a Image temporarily unavailable Figure 42. Satoshi Saito Sensei demonstrating shuriken throwing with the sword. The idea is that one dev elops the ability to throw shur iken quickly while one is drawing and cutting with the sword. Most swordsmen trained only in the sword know only the rhythm of the sword, which has a certain timing, due to the weight and size of the weapon. The shur iken, being smaller and lighter, can be drawn and thrown much quicker than a sword, so it can be said that you can attack inside the rhythm of a swordsman's attack. Thus one could be able to launch 1 or 2 shur iken at the opponent before they are in sword distance, giving you an advantage already. Receiving a blade, y adome An advanced level of training involves not throwing a blade, but having a blade thrown at you. This stems from the days of the Samurai where a swordsman would def end himself against attackers throwing or propelling objects at him, such as a shur iken, or an arrow. There are stories of f amous encounters where swordsmen could deflect the flight of arrows and shur iken in battle, though this is generally thought of as being the stuff of legends. However, within the arts there are training techniques designed, called y adome, to develop this ability, so we should not di scount the possibility that an individual can perform this sort of feat. Mr Shirakami tells of his experiences where he asked his student to shoot arrows at him,
while wearing fencers protective face gear. He was able to develop the ability to deflect the flight of an arrow but cutting at it with a sword as it was fired at him.. The key seems to be in the mental attitude one takes when faced with such an attack. Rather than wait to see the path the arrow is taking, then react to it by trying to block it, the idea is to move at the same instant, with the same feeling as the attacker, and cut the arrow down. I believe this feeling is the same as aw ase training with sword, in Aikido. Here the idea is to match your feeling and m ovement to that of the attacker's without the thought of reacting to their movement. The shooting of an arrow, or the throwing of the blade is seen as being like the cutting of a sword. There is the moment in the attackers mind where they commit to action, then the body follows, acting out the mind's intentions. So by using aw ase, the idea is to unify yourself to this moment, to cut as the attacker cuts, and providing the sense of timing in aw ase is correct, it does not matter whether the weapon attacking your centre is a fist, a sword, an arrow or a shur iken, correct performance of the technique will protect your centre, thus deflecting the attack. Wrapping the blades with paper, varnish and string - updated There is mention of some Negishi Ryu shur iken being wrapped in paper, string and lacquer (Interview with Saito Sensei in Skoss, 1999), which is for reasons different to that of attaching pigskin hairs to the end of the blade. Some people have suggested this is to adjust the balance of the blade so it is perfectly centred, but this appears not to be the case. The practice of gluing pigskin to the end of the blades with the hairs pointing backwards, is to assist in the smooth departure from the hand, and create drag in flight for a straight trajectory, however this seems to serve a different function to that of wrapping the blades. In the interview Saito Sensei makes vague mention of this in conjunction with the balancing of the centre of gravity of blades to accentuate close or distant hits, however it is not at all clear. After further discussion by email with several people who are training in shur iken, it appears that this practice of wrapping the shaft of the blade in paper, laquer and/or string is a way of creating a rough surface on the shaft of the blade, in order to apply a small amount of friction as it l eaves the hand. This is because the technique of throwing involves a slight flicking or twisting of the hand, as well as a simultaneous downward movement of the hip, which applies a slight amount of pressure to the tail end of the blade just before it completely departs from the finger tips. This effect hinders the natural rotation of the tail end forwards, thus creating a more straighter flight before striking the target. If one were to throw a clean blade, with no string or paper wrapping, the smooth metal surface of the shaft would slip easily from the fingers, and therefore generate excess rotation. This is also one of the reasons Mr Otsuka believes the Negishi Ryu shur iken were hexagonal and octagonal, because a flat surface allows more grip on the shaft as it leaves the hand, whereas a rounded shaft will allow less grip on the shaft as it l eaves the hand. The principle of "K anime no Daiji" (eyes of a crab) - Using the shuriken as a striking implement There is another method of using the shur iken, and that is holding it in the hand and using it as a striking implement. The tip targets vital areas of the body, but uses the power of the arm and body to create the strike. The grip is similar to that of Jikishin, but the postioning of the thumb and first finger are reversed (see illustration fig. 42 ).
Fig. 42. Holding the
shur iken
in order to strike the target with the hand
The thumb presses down hard on the top of the blade, pushing the tip into the target. To do the strike, the tip is held slightly up with the arm bent at the elbow, as shown in the photo on the left. As one strikes, the arm is straigthened and the thumb pushes forward, and the wrist extends forward, as shown in photo on the right. Mr. Shirakami discusses this strike at length, saying that this technique came from a secret Negishi Ryu document titled "K ani me no Daiji ", and was Master Naruse's final, secret instruction to him. The technique is to be used as a final resort. That is, the distance has closed between you and your opponent, so you can no longer throw the blade. When you can see the opponents eyes bulging, like "the eyes of a crab", meaning, that you have entered and caught the opponent by surprise, then you would be victorious. The targets for this strike have been listed as the eyes, and the depression in the throat just above the collar bone. Chikatoshi Someya Sensei, in his book "Shuriken Giho", demonstrates a wide variety of apparently secret striking techniques where the shur iken is hidden in the palm, with the blade tip protruding in various ways. The techniques appear to be k arate-like striking movements, but the focus of the attack is to pierce the opponent in vital areas with the shuriken at close range. He illustrates methods of holding 1 and 2 blades in the hand, and demonstrates methods of holding that can conceal the blade from onlookers, without raising suspicion. Tipping the shuriken with poison Mention has been made of the use of poison being applied to the tips of shur iken, thus giving them lethal capability. There are two traditional poisons I know of used for this purpose, one is the extract of Wolfsbane, or Aconite ( Ac onit um j a poni cum), which contains highly toxic and extremely fast acting alkaloids, for which there is no specific antidote. Substantial doses of Aconite cause almost instantaneous death (2, 3). The active constituent Aconitine causes neuro-muscular paralysis and contractions, affecting the heart and respiration. As a side note, there is a variety of Aconite in Japan called Ac onit um Aizuense, an interesting connection to either the Aizu area, or the Aizu clan... The second poison is not so f ast acting, but nevertheless lethal. Death is caused by severe and fast acting infection from a mixture of horse manure, chicken's blood and oysters, which together contain the broadest spectrum possible of infectious bacteria, making it almost impossible to treat. This poison was not strictly limited to shur iken, but also used on many types of edged weapons, particularly among Ninjutsu schools. Mention has been made by some that the poison from the f ug u, or Japanese Puffer fish may have been used for tipping blades. I am not sure this is correct, as f ug u poison is neutralised by oxygen after 24 hours. There has been extensive research into f ug u poisoning, and it has been found that one can survive its paralysing and fatal effects if one submits to an artificial respiration machine for a period of 24 hours. That is, the effect of the poison wears off after 24 hours.
Notes: 2. Selwyn L. Everist "Poisonous plants of Australia" Australian Natural Science Library, Angus & Robertson, 1974 (back) 3. Hsu, Hong-yen "Oriental Materia Medica: A Concise Guide" Oriental Healing Arts Institute, Long Beach, 1986
