Learning correct ukemi is a very important part of training. It is almost always relagated to the realms of the beginner, but ukemi can also be an important weapon as well as a means of protection. There are many different types of ukemi depending on what Ryu you are studying This article is from a 1986 NINJA magazine, written by Hatsumi Sensei on the subject. Enjoy .
In order to become a ninja, one must learn and fully comprehend the unique concept of ukemi. Although it is extremely difficult to translate, ukemi involves rolling or falling movements in different directions in response to an attack. This is done not only to escape danger, but to assume a new position that will confuse or distract your opponent. In ancient Japan the ninja were always in danger, no matter what the environment or the situation. If they did not totally understand the real meaning of ukemi thev could not have survived nor left the legacy of their extraordinary accomplishments to posterity. In the old days the ninja were referred to as masters of escape, sometimes thought of as superhuman beings because of their awesome ability to avoid danger and, whenever possible, elude confrontation completely. Today, however, there are those who do not have a true understanding of the ninja; they have the wrong impression that ninja are weak, afraid and run away from danger. This is most unfortunate because, in reality, it is just the other way around. It takes courage and cunning and great wisdom to know just when and when not to fight . If you know only winning and you do not know losing, there is much to learn. Samurai who know only attacking, moving forward with aggression, are called inoshishi musha (boar samurai), because they only know how to go forward like mindless animals. If you do not know the essence of ukemi, you might as well be a mindless animal for you will not survive many combat situations that require more than just brute strength. Even budo masters, when attacking. will lose in the end without this knowledge.
Our school of ninja stands on 900 years of historv and, unlike those who knew only how to go forward and ultimately lost like Napoleon, for instance. we have survived all these centuries because we understand and have mastered the principle of ukemi and, with that, the truth. In the following photographs and text, I will illustrate and explain some of the concepts and techniques of ukemi, one step at a time. All rolling/tumbling techniques must be executed silently and painlessly. Whether rolling forward, backward, to the right or left, if there is sound, it not only alerts the opponent, it also means you are making hard contact with the ground. You are therefore subjecting your body to pain. These techniques must be practiced again and again until they can be performed without sound or pain, even on concrete or other rough terrain.
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The action of this technique is extremely swift. Accuracy and control, as a result of countless hours of practice, is absolutely essential. As the opponent begins his downward strike (1), Dr. Hatsumi quickly falls backward, blocking the sword at its hilt with his right foot and striking his opponent's right knee with his left knee. Hatsumi lets the attacker's momentum carry him just a little forward and off balance(2,3) at which point Hatsumi slaps the side of the sword, guiding it away from him, while pushing his left knee against the attacker's right leg (4). Hatsumi lunges with his left shoulder/elbow against the man's sword arm and body (5), causing him to fall backward while Hatsumi grasps the sword (6). His left leg pinning the opponent's right, Hatsumi, with sword in hand, is now in complete control (7).
KATA NO OSHASITE ZENPO KAITEN (tumbling with sword).
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From the standing position (1), Dr.Hatsumi swings his sword in front of him, at the same time moving his right arm out (2) then down in front (3) for the momentum that will roll his body over his right shoulder (4). The side view shows the completed roll, hands on sword (5) and then the drawn sword ready for action (6).
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Training with Hatsumi's Best A diary of an american ninja in Japan By Chuck Dervenis
Flashbacks and Jutaijutsu Memories of Japan . . . "Let's go for it," Tetsuji Ishizuka, 9th dan shihan instructor, said as he approached me on the dojo floor. The scene was the Ishizuka dojo on Friday night, site of Hatsumi Sensei's instructors' training. We had been called upon by Sensei to demonstrate a technique. I was, of course, the victim. I punched. Ishizuka?san dodged with graceful ease, pushed my attacking arm to the side with a small movement (unbalancing me as he moved, "so sorry") and applied a painful elbow lock. I was raised.to the very tips of my toes. There was a whirl of movement and I took ukemi (rolls, breakfalls, etc.) as I realized (too late!) I was being slammed onto the tatami mat Ishizuka was doing a headstand next to my face. "What happened?" I asked the upside?down, ever?grinning Ishizuka. "We did a technique!" he exclaimed, and flipped away. I stood up, sheepishly grinning. The Japanese roared with laughter. On the wall of the bujinkan dojo in Kashiwa City, Chiba Prefecture, Japan, is a sword broken neatly in half. I asked lshizuka-san what the sword represented and how it had been broken. "Ah," he said in fluent English, arms folded across his chest, the almost always grinning face touched now with a look of deep thought, "Sensei broke that sword with a stick when we were making a book. It was a very good lesson for me." I'm a metallurgist; I couldn't resist taking a look at the blade. The sword was definitely forged ? heavy cold work. I looked at the fracture surface. Nothing made sense to me; the behavior of the steel as it broke did not follow normal guidelines. Here was a shearlip, there was plastic flow. Resolving to one day take a closer look under an electron microscope, I let the matter go. For this student, too, the broken sword had been one more in a series of never-ending lessons. We were having a party, and one very drunk Greek was having a good time. Ishizuka walked over. "I'll give you 15 minutes," he said grinning as usual. "It's time for you to learn the basics of Takagi yoshin ryu jutayutsu, the system that stresses the grappling attack of weakpoints in our bujinkan dojo ryu: " "But I really don't want to right now," I groaned, knowing what was coming. Ishizuka's grin became much wider...
These anecdotes are very typical of the training atmosphere in Noda City, Japan, where students from all over the world train under the tutelage of Grandmaster Masaald Hatsumi. Almost all foreigners studying Dr. Hatsumi's bujinkan ninjutsu in Japan will train at one time or another at Tetsuji Ishizuka's dojo in Kashiwa. Indeed, it is the only dojo where the telephone is answered on a regular basis with a loud "Hello!" as well as the traditional "Moshi, Moshi: " Ishizuka is well known as being the shidoshi instructor most closely associated with the bujinkan training groups in Europe, along with his close friend, Israeli Doron Navon (who, as is well known, was Hatsumi Sensei's first foreign student). A former judo champion, Ishizuka actually met and trained with Dr. Hatsumi for the first time when he went to the doctor's office for treatment of a shoulder injury acquired during judo randori training. Hatsumi Sansei showed the then teenage Ishizuka a totally different type of martial art, one that claimed his loyalty for the rest of his life. It was an easy transition for the young judoka to develop proficient throwing skills following the principles of ninpo jutaijutsu rather than those of judo. In bujinkan dojo ninjutsu, throws are performed with a lifting and slamming motion rather than the stylized circular motions of judo and aikido. The intent is to slam the attacker into the ground in the most injurious manner. Attacks against weakpoints or blows in midthrow are also an integral part of the jutaijutsu concept. Ishizuka enjoys throwing.
From a grappling situation, shidoshi Ishizuka first unbalences his opponent with painful weak point attacks(leg & He then shifts his grip to secure his opponents throat) elbows, forcing him up onto his toes.
To end the technique, Ishizuka flows into a throw designed to slam an opponent onto his back.
The throws of taijutsu are not exaggerated and circular, they are more like lifting and dropping movements, which inflict the maximum shock effect on impact.
The other fortes of this shidoshi instructor are extremely penetrating blows and devastating "pressure point" attacks. By the entrance of his Kashiwa dojo Ishizuka has incorporated a solid oak beam, roughly 8x8", which he invites students to strike as hard as they can. The beam has an area that is gouged in by dozens of four?indentation patterns, representing extended knuckle strikes pounded by Ishizuka into the wood. Of the many hundreds of people with various backgrounds in many martial arts who have made the attempt, only one has made even the slightest dent in the beam (Ishizuka has circled the area in black ink and signed the particular student's name after it). Another of Ishizuka's favorites are the very effective weakpoint attacks, following the principles of takagi yoshin ryu (the "weakpoint" system of the bujinkan dojo). His favorite method of countering throws or grappling attacks is to use this method to very painfully control or suppress the attacker's motion, usually with an irritating grin about a mile wide. The ability to flow constantly back and forth from a striking to a grappling situation is one of the key criteria to competence in ninpo taijutsu. Ishizuka?san is a primary example of an excellent combination of both these abilities. For those of us who do not have 25 years training in ninpo taijutsu, hover, there are fortunately standardized and historic technique sequences in the bujinkan dojo by which we can develop proficiency in the flow between striking and grappling. One such sequence, for example, is rakurai (thunder). As the opponent attacks, the defender fades back to the inside and gently grabs the attacking hand. Applying an omoye gyaku wrist attack and simultaneously slamming an ura shuto strike into the attacker's neck, the defender steps in to drop the opponent with taijutsu. As the aggressor strikes the ground, he is crushed by the defender's body, who has used his weight to slam elbow and hip into the opponent. One reason why Tetsuji Ishizuka was chosen for the focus of this article, over and above his obvious martial abilities, is the equally obvious zest for life and barely contained happiness this man radiates at every instant. This is a major part of Dr.
Hatsumi's training that somehow seems to be missing from ninjutsu training in the West: Enjoy life! Be happy! Somehow between left and right we have neglected that basic principle, so crucial to any success whatsoever with taijutsu. Any pointers on technique notwithstanding, this author would like that point to be the major emphasis of this article: Be happy!
From grappling range, shidoshi Ishizuka demonstrates a weak point attach to the throat.
He follows with an attack to the ear, which has many target points.Stepping in with a push-stomp to the ankle....
...Ishizuka drives his opponent to the ground.
The weak point attack to the ear coupled with an arm lock, holds the opponent in submission.
"You haven't hit my wood yet and you're leaving in two days;" the dojo instructor said, patting me affectionately on the shoulder. I thought of all the cinder blocks, stacks of bricks and layers of boards I had broken in my previous martial arts training. I thought of how 1 had once punched through a wall during a particular incident. I thought of my right hand, well?muscled and conditioned by a decade of martial arts training. Then I looked at that huge, immovable piece of wood and turned to my friend. "But I really don't want to right now," I said. Tetsuji Ishizuka grinned. Boy, that piece of oak sure hurt . . .
Memories and Proper Feeling "Good condition?" Isamu Shiraishi, 6th dan shidoshi instructor, asked me in broken, melodious English as I strapped my belt loosely around my waist and readied for training. I knew exactly what he meant. Was I in the right frame of mind, did I have the proper spirit at the moment to really enjoy training? Shiraishi?san had often stressed to me that I should never train while in a negative mood. He did not mean that if I were feeling angry or tired I should walk away from the dojo until a better day. Quite the contrary. What he had drilled into my skull on a repetitive basis was that, before training and while training, I should always bring myself to my most pleasant state of being. One should, in other words, enjoy training so much that for every instant spent in training, all troubles are forgotten and the heart fills with joy. Training should become an ultimate form of relaxation that brings peace to the spirit of the martial artist. It is this feeling that is one of the most important things this author was taught in Noda City, Japan, under the tutelage of ninjutsu Grandmaster Masaaki Hatsumi. Perhaps this feeling is, indeed, the most important factor of all in any martial arts training. Isamu Shiraishi possesses this feeling. On the wall of Shiraishi's dojo is a simple calligraphy painted by Dr. Hatsumi during a period of crisis. The following story is verifiable and true, and the reader may believe it or not, as he or she wishes. There was a time when Shiraishi san (whose name means "White Stone") was caught in an ex plosion in the powder metallurgy factory where he is employed as an engineer. His body was horribly burned and he was blind. Surgeons at the hospital where he was rushed for emergency treatment gave him very little hope of survival and certainly no chance of ever regaining his sight. One night Masaaki Hatsumi stole into the hospital room of his student and left a simple calligraphic painting with an even simpler message: "Please open your eyes." Within two days Shiraishi's bums were healed; within two weeks he began to regain his sight. Shiraishi san still wears glasses and probably will for life. However, his vision is improving constantly with time. Of the horrible bums that covered his body only a small strawberry mark remains on the underpart of his right bicep. "You must use everything together, arms, body and heart, plus?plus?plus, to throw a shuriken correctly." The Shidoshi instructor let fly with a needle?pointed bo shuriken. The missile hissed through the air and buried itself with the faintest of "chuffs" into the straw makiwara 15 feet away. Shiraishi?san let fly again, placing another small dirk next to the first one he had thrown. "Proper throwing for shuriken, only with good condition," he said, and I understood.
It takes proper feeling to understand taijutsu. Technique, stability, timing, flow; these things are very important, yes, but if the student does not capture the con?ect feeling of ninpo taijutsu then what he is studying remains a series of blank movements. This is one of the biggest problems with ninjutsu training in the States; few people have and convey this feeling. It is not something that can be seen in pictures. It is not something a video will illustrate or that can be read in a book. It is something that must be experienced and freely given to the student.
Stepping in, the defender From a grappling situation, As the attacker punches with continues the arm the defender will use a his right arm, the defender deflection up and across the technique called omote shifts to the inside and attacker's body to break his gyaku. deflects the blow. balence.
Then pivoting around, using the attackers wrist as a fulcrum, the defender begins to throw his unbalenced opponent.
The wrist-torque throw, ninja style, looks like an aikido or kujutsu throw at this stage.
But since ninjutsu throws are designed to inflict maximum shock, the defender adds a snapping pull back motion to shorten the ukemi's arc.
The throw ends with the attacker slamming on his back, from where an immobilization arm lock can be applied. Takamatsu Toshigutsu, Dr. Hatsumi's teacher and 33rd generation Grandmaster of the togakure ryu, had a dream one evening which proved to become the foundation of his philosophy in the martial arts. In this dream, a demon and a butterfly engaged in battle; quite an uneven conflict, as most readers would agree. The demon was strong, huge, and had great powers. The butterfly was small and appeared to have no capabilities other than those of the average insect. And yet, when the enraged demon attempted to swat the flitting butterfly, it easily avoided his charges. Dancing here and there, ever out of reach, the butterfly fit completely into the demon's motion. His strength useless, and choking on his own anger, the demon fell to the ground dead while the butterfly floated away, free and unharmed. Needless to say, this combat strategy brings to mind the rhymes of a once famous heavyweight boxing world champion. This is taijutsu. To be able; in other words, to adapt to your opponent's energy and movement so completely that he has no capability to injure you, or ultimately, to affect you in any way. The pinnacle of this ability is to simply not be there whenever any action potentially harmful to yourself is carried out. Once Masaaki Hatsumi was asked: "What would you do if a sniper shot at you from half a mile away while you were going out your door7' The answer was simple: " I would never walk through that door at that time." This, too, is taijutsu. Shiraishi?sans dojo is conveniently located behind his house. In the afternoon hours my friend Pierre Dahl, from Sweden, and I would often go to the Shiraishi dojo, break in, and subsequently work out in whatever fashion the mood of that particular day brought on. More often than not, Shiraishi?san would return home from work, see us in the dojo, and subsequently (to the endless chagrin of his wife) jump in and spend an hour or three training with us. It was an endless pleasure to watch him move. After training, most dojos offer tea and sweet biscuits to relax the student and help him regain his energy. Shiraishi always took that practice one step further: he usually brought out dinner. The first time I saw this high?ranking martial arts instructor exit the back door of his house with a huge platter of food and drink I confess to having been a bit stunned. I asked him why he was fattening us up for the slaughter. "Ah," he said, "for good condition, to make good condition." (Incidentally, it just dawned on me that when you speak to someone in broken Japanese and they answer you in broken English . . . hmmm, let's hold that thought for much later.)
Through Shiraishi?sans example I learned something very important about proper training: ho matter how hard you train, no matter how diligently you condition your mind and body, it is very important to do it as pleasantly and with as much dignity as possible.
Facing a knife attack, with nothing but your empty hands, is one of the most dangerous situations a ninja can find himself in.
In this technique the defender first shifts to the inside of the thrust.
Then, by applying the 'wave concept, the defender checks the attackers momentum with forearm shuck and a wrist gra
He then drives the knife man to the ground The engagement ends as the defender by twisting the knife as he pivots his body turns the attackers weapon against him. "True meaning of ukemi, very deep." Hatsumi Sensei had at one time said to me. (yo one exemplifies that quote better than Isamu Shiraishi, whose flowing and graceful ukemi are an extension of his effortless taijutsu. I was part of an audience that watched in complete silence as Hatsumi Sensei threw Shiraishi for five minutes nonstop onto a wooden floor and into the surrounding walls to better satisfy himself with his student's ability to take a fall. The art of ukemi goes back to the principle of the butterfly in Takamatsu Sensei s dream. If you are so skilled in the ability to recover from and/or escape from your opponent's attack that he cannot injure you no matter how hard he tries, then you, too, have become like the butterfly, flitting away from the demon. It is for this reason that ukemi is extensively taught for long periods of time to beginners in the Bujinkan dojo. Indeed, proper training for the student cannot begin until he has demonstrated the ability to not be injured by the training itself, which, to the untrained eye, can appear quite brutal. The student was either relatively new or he did not enjoy working with a foreigner. Whatever; his body was tense, every action resisting my motion. As this student (a rather large Japanese) sought with ever-increasing strength to make the foreigner look foolish, my body adjusted to his movement, stepping into another technique effortlessly. Again he tried to muscle his way out and again I turned his energy back into him, flowing into yet another grappling variation. Soon his struggles ceased and I stood over him, completely in control of the situation. 1 grinned and stepped away,
helping my training partner up as l saw the new respect in his eyes. The shidoshi instructor nodded his head and pointed at me with a smile. "Good condition," said my friend and I understood.
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Forty Years of Ura and Omote By Masaaki Hatsumi "Today, few people understand the true scope of what ninjutsu really is. Even in Japan, the birthplace of the art, few individuals have an accurate concept of ninjutsu. This is understandable to some degree, in that the art was held in secret by a few families in central Japan for many generations. For reasons of personal survival through hundreds of years of social and religious persecution, the art was hidden from all but the innermost circles of the ninja clans. When the true facts cannot be known, people will often make up their own versions of the unknown stories. Hence all the maligning tales condemning ninja as low class, immoral and dishonorable assassins for hire. Fortunately, all of your years in training with me at my home dojo have given you a knowledge of the true ninja ways. I am confident that you will do a good job in bringing the art of ninjutsu out of the shadows of misunderstanding and into the light of truth for all of your followers in the Western world. In teaching others, you will learn much. To fully mature as a warrior in all aspects of life requires forty years of study. The first twenty years are spent in learning the omote of life (the surface, obvious or "frontal" aspects). These are years for training in the concepts of honor, respect for superiors and parents, guidance of your juniors, diligence and discipline in the training, and the strengths of justice, honesty, and forthrightness. The vast majority of martial arts systems stop at this level. The ninja, however, must progress onward through the full experience of life. The second twenty years of your life are then spent in exploring the ura realm (the inner, hidden, not obvious or readily seen aspects), better known as the shadow side of human nature. These are years for training yourself in the ways that honor, respect, and love can be twisted out of shape and used against you, and for looking at realities in which true justice and benevolence are given appearances that confuse the masses who lack the enlightenment of perspective. Weaker souls are quick to label such wisdom as "evil" or "pessimistic". Do not fear the strength you gain. The forty years bring you full circle, having taken you through the full realm of human growth and awareness. You begin with the freshness of innocence, gather the stains of worldliness, and return with the wisdom of innocence. You begin empty, fill up along the way, and return empty. Forty years of training is no guarantee that you will ever be a master of the art. It merely readies you for the potential of total development. From there it is up to your own character, personal nature, and life destiny as to how far you will advance. You will become a ninja in all the power that the word implies if you were meant to be such. I encourage you to keep right on going in your challenge of unfolding all the secrets and mysteries of the ninja art and lifestyle. Your personal progress will be inspiration for all of our students there".
10 Steps to Attaining Invulnerability The title of this sounds so attractive, but is not what you think it is. I have found that as I have gotten older I find that Life should be enjoyed at a slower pace. I, therefore, enjoy reading things such as this which try to show us that Life need not be so fast and reckless. You can either stick your head in the sand and play dumb like Homer here or you can learn, relax and enjoy what life has to offer. I find reading things like this can sometimes put a new perspective on Life. I hope you do to. ;-) Although this was written in 1966 and copyrighted, you will see a few headings which are very close to the 5 Dojo rules of the Shinden Fudo Ryu Dojo and these rules beat the copyright by 70 years. ;-). Although these rules of the Dojo are widely pubished if you have not heard of them please e mail me and I will send them onto you.
Invulnerability is an attitude, a quality, a way of being. It is not so much a static state as a fluid process. To become invulnerable is to become inaccessible rather than indestructible. There is no such thing as absolute physical invulnerability. Here are ten steps to achieving invulnerabiliy in your life. 1. Be calm, still and centered. Stillness is first a matter of physical arrangement, then of mental quietness. Calmness results from stillness maintained over time. By themselves, stillness and calm are fragile conditions. Centeredness is stillness and calm in the face of outwardly chaotic or threatening conditions. Centeredness is a function of motion and centricity. The centered person, though outwardly still and calm, operates at a minimum of two levels--one visible and apparent to others, a second hidden and invisible. It is this second level that is ceaselessly moving and changing, adding fluidity and unpredictability to one's life.
2. Be present focused. To divide your attention among past, present and future is to weaken yourself. To focus exclusively on the present is to vastly increase your powers of concentration and execution. The key to present focus is full awareness. The ronin's code, "Arise every morning, ready to die", represents an extreme example of internalized present focus and a major element in attaining practical invulnerability. When you follow this code, there is an implicit obligation to "keep the ledger balanced" with all others on a daily basis--a not inconsiderable
task. Present focus enables you to experience the process fully without being preoccupied with the result.
3. Be open to experience. Experience is a chain of significant events. So there are two elements here: openness, and the capacity to discriminate between the significant and the trivial. This form of discrimination arises naturally from full awareness, particularly of the "still small voice" of intuition. Openness is true power, for only as you are open does it become possible to join, blend, and redirect.
4. Touch the earth gently. Experience should be savored rather than devoured. Think of touching a cloud, holding a newborn in your arms, or laying a needle on the surface of the water so gently that it does not sink. The secret of eliciting a positive response to life lies in touching it gently. Gentleness is true strength.
5. Become a warrior. To become a warrior is to be totally committed to what you are about in this life-to discover your own truth and live by it. Nothing less than total commitment results in mastery. Warriorship is neither a religion nor a philosophy. It is a way of life that demands everything you have to give, and rewards accordingly. But it is important to understand that neither the paths nor the rewards of warriorship are necessarily the "world's". Warriorship begins in transformation and ends in transcendence.
6. Live tactically. To live tactically is to deal with the issues of life and of this world wisely, effortlessly,and purposefully. Effective tactics are based upon overriding "strategies". A warrior lives tactically, a master lives strategically. Tactics are personal and situational; they depend on the person employing them and they can vary according to the situation. Here are seven examples of tactics: (1) Make decisions so carefully that nothing can disturb you or cause you to lose your balance (Don Juan) (2) Become inaccessible or accessible only by choice (3) Choose your time and your turf (4) Learn the wisdom of not-combatting (5) Know your enemy (6) Allow (and arrange) the facts to speak for you (7) Don't allow others to make you part of their problems.
7. Recognize paradox as a condition of this life. Paradox--when things are not as they seem to be, or when two truths appear inconsistent with one another--will always attend residence in the human body
and in this world. Paradox is part of the "cloud of great unknowing" and evidence that the human and divine order are quite different. To admit the existence and legitimacy of paradox in your life is to increase your openness to new learning.
8. Acknowledge a higher power. This is faith put to the test, and it makes a difference between an ordinary and an extraordinary life. The key to acknowledgement is letting go--of your prejudices, your favorite positions, and your obsession with being "right". Faith is evidence of openness.
9. Be willing to act on faith in the absence of fact, and the presence of doubt. Faith can be "the substance of things hoped for, the evidence of things not seen." Faith is acceptance of what you know even though it conflicts with your logical/factual mind set.
10. Practice loving unconditionally. Along with faith--unconditional love--can "move mountains", repair damaged relationships, heal wounds, and bring harmony into your experience as no other quality can. But, not only is it the final step in attaining invulnerabily; it is the most difficult. About the Submitter This piece was originally submitted by Shale Paul, Coach, who can be reached at
[email protected], or visited on the web. Shale Paul wants you to know: I work with individuals who are committed to getting ahead, changing direction, or simply growing! The original source is: Adapted from THE WARRIOR WITHIN, by Shale Paul. Written by Shale Paul. Copyright 1966, Coach University. May be reproduced or transmitted if done so in its entirety, including this copyright line. This document maintained by Webmaster. Mahoutsukai Dojo Material Copyright © 2002
An Introduction to Kusari Fundo As far as I am aware, there are no formal kata of kusari fundo within the Bujinkan. I have seen techniques performed with the kusari only as henka for another form. An example of which I have included here. In this sequence Hatsumi Sensei replaces metsubushi with the kusari fundo. I have also included some pictures Hatsumi Sensei took showing how to hold the Kusari Fundo. As I get more solid information I will post it here The kusari fundo is a weighted chain ranging from 18 to 30 inches in length. The kusari fundo ( also known as manrikigusari and many other names) was reportedly invented by Dannoshin Toshimitsu Masaki aroung two hundred years ago.Masaki was head sentry of Edo (Tokyo) Castle. He was aware that any attempt to breach the castle walls would result in heavy loss of life and so tried to develop a means of defending the castle without drawing blood as he felt blood should not flow before such a scared place. For reasons only known to him, he decided to develop the use of the chain. He found that this could be used successfully against opponents both armed or unarmed. From these techniques he developed Masaki Ryu Manrikigusari. In Hatsumi Sensei's book, Ninjutsu History and Tradition, he mentions four striking technique's. These are : Tenchi Furi - Rising or falling vertical strikes Yoko Furi - Inwards or outwards horizontal strikes. Happo Furi - Inward or outward diagonal strikes. Naka Furi - Forward shooting strikes. It is my intention to discuss Naka Furi on this occasion. This is illustrated below by Hatsumi Sensei.
The kusari is held in one hand by a weighted end and gathered up in thepalm of the hand until the other ed is grasped in between the fingers. Youshould now have a hand full of chain with on weight protruding from the palm by the little finger and the other weight from between the index and middle finger. The kusari can now be thrown forward by punching towards the opponent and pointing the index finger to release the kusari fundo at the opponent, keeping the other end grasped firmly with the little finger. If aimed at the face, it will accomplish the
same task as metsubishi (blinding powders). Once the kusari has reached the end of it's flight it may be swung down and back into the opponent in one of the other strikes mentioned above. I have included below a set of photograph's of Hatsumi Sensei performing a kusari techniques. These pictures are taken from an old issue of an american magazine NINJA, before Hatsumi sensei stopped contributing to it and it went to seed (these photo's are from a 1987 issue)
''This is a lightning fast metsubushi technique. For practice purposes, rather than the kusari fundo, which could be very dangerous, I recommend you use a string with knots tied in at both ends. Please remember as you practice to employ the variety of body movements I explained to you in my earlier article on metsubushi.(Dec/86). (sorry I'll post that article next.) (1) Here Dr Hatsumi assumes the yoko ichimonji no kamae with a knotted string rather than a kusari fundo. (2) As the attacker moves in, draw your left leg diagonally back so that the attackers sword will hit nothing but air. Immediately release the 'fundo' in your left hand, whipping it out at the opponents neck/face area. (3) As you practice you must try many different things. This time throw the 'fundo' in such a manner that it scoops under and around your opponents forearm.''
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An Introduction to Kyoketsu Shoge This is an often seen, but little studied weapon. I have a little information on this weapon which I present here, so those who are unfamiliar with the weapon may gain a little insight.
The Kyoketsu Shoge, which means "to run about in the fields and mountains", was thought to have developed before the more widely known kusarigama (sickle and chain). The Kyoketsu Shoge is a double edged blade with another blade attached at 90 degrees to it. This is attached to roughly 18 feet of rope, chain or hair which then ends in a large metal ring. Almost exclusively used by the ninja, the kyoketsu shoge had a multitude of useful applications. The blade could be used for pulling slashes as well as thrusting stabs. The chain or cord, sometimes made from women's or horses hair for strength and resiliency, could be used for climbing, ensnaring an enemy, binding an enemy and many such other uses. The long range of the weapon combined a cutting tool with the capability to strike or entangle an enemy at what he perceived to be a 'safe' distance out of the way. As far as I am aware there are no formal kata for the Kyoketsu Shoge. It appears to be a weapon that is often dropped into a technique just the same as Kusari Fundo. Hatsumi Sensei has shown the weapon at several Tai Kai's. For example at the 1992 UK Taikai he demonstrated some kamae with the weapon ; 1/ The Shoge and coiled rope are held in the left hand, with the right hand holding the rope about 2.5 feet from the end of the ring. 2/ The ring is held in the left hand with the Shoge and rope. The Shoge can then be thrown and the ring kept held in your hand. Perhaps the most well known technique with this weapon is one called "Torite Baai". In "The Ninja and their secret fighting art", Steven Hayes best describes this technique ; "Hatsumi Sensei held the Kyoketsu Shoge loosely coiled in his left hand. He moved to the corner of the training hall opposite me, leisurely swinging the ringed end of the cord in his right hand. The narrow cord was approximately 12 feet in length, strong and resilient. To one end of the cord was fastened a steel ring, which could be tossed over the ends of roof beams, tree limbs, or suitable hooks to form an anchor for
climbing the rope. The other end of the cord was attached to a unique hand held blade. From the wooden handle protruded two-edged spikes of steel, at right angles to each other. I held a defensive position as Hatsumi Sensei circled me and lectured the class. He twirled the ringed end of the cord in a small loop and explained how the ring could be used to snag the adversary or knock him unconscious. The master jerked the cord and ring back into his grip. He continued his teaching: Let the ring fly as a natural extension of the swing. Do not deliberately throw it.
The ring left his grip once again. The cord went out to the master's right and snaked its way to the left of my head in a broad arc. This time the master did not pull it back. As the ring came within reach, I threw up my left hand and snatched the ring from the air
Upon catching the ring, I felt a rush of excitement and pride. I had foiled the attack of the master of the ninja. As suddenly as the feeling had come, it was replaced by a feeling of regret. I was deeply embarrassed for the master. His weapon had been so easily intercepted by an inexperienced student from America. I wished I had not made the catch, and had not made him look foolish in front of his students. I felt that I should have been more thoughtful, more considerate of his rank and position. This feeling, too, was in turn replaced by another. I was suddenly very disappointed that I had been able to catch the weapon so easily. This man was supposed to be the supreme master of the last ninja school in Japan, and I had outmaneuvered him. If he really was the teacher I had hoped he would be, this couldn't have happened. I felt annoyed and let down. Hatsumi Sensei held his position for the second or two that it took those thoughts to cross my mind. He was about ten feet away, holding the other end of the cord, looking at me. His expression hadn't changed. He continued to lecture, though I still held the ring firmly. He spoke briefly about "the unexpected." I thought he meant my catching the weapon. He didn't mean that at all. Hatsumi Sensei snapped his arm up and down briskly, and sent some sort of loop over my clenched fist. He yanked on the cord and I felt a knotted coil dig into my wrist. He had somehow tied up my arm from across the room. Now I was the one facing the unexpected as I flew across the floor, helplessly lassoed . The master made a slashing motion with the blade as I floundered toward him, and commented that the adversary would be easy to finish off in such a situation. I was stunned; the rest of the class was amused. They shook their heads and laughed out loud. Everybody falls for that set-up, they told me. It's so easy for Hatsumi Sensei and it always works. The master was smiling as if to say, of course it was a trick. You never know what's coming next. That's what makes this Ninjutsu."
I do have more information on this weapon, but consider it inappropriate to post it here. If you would like to discuss the weapon or any techniques, please email me at
[email protected] or if you would like to discuss anything publicly please leave any message on the message board and we'll discuss it there. The sources of infomation presented here are : My friend Steve Greenfield Godan, Shidoshi who has researched this quite a bit. "Ninjutsu History and Tradition" by Hatsumi Sensei published by Unique Publications. "The ninja and their secret fighting art" by Stephen K Hayes published by Tuttle.
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Bojutsu: The Staff and Stick Arts of Hontai Yoshin Ryu Jujutsu by Stephen M. Fabian (All photos in this article are printed courtesy of the author.)
Although many practicioners of modern jujutsu associate the Hontai Yoshin Ryu jujutsu exclusively with weaponless joint locks and throwing maneuvers, an important part of the repertoire of the art, as is commonn among many actual kobudo (older, classical budo), involves the mastery of various traditional weapons. Most prominent among the weapons trained in the The author in the standard roku Hontai Yoshin Ryu are the roku shaku bo or cho bo (the six shaku or almost-exactly-six-foot staff, shaku bo ready position. always round and straight-sided) and the three-foot "stick" or han bo (the "half" staff, precisely three shaku in length, which is round, may be straight-sided or slightly tapered at one end, and is thinner than the cho bo). During three regular training sessions a week at the Hombu dojo in Imazu, Nishinomiya, Japan, one is devoted exclusively to training in bojutsu. According to traditional lore of the Hontai Yoshin Ryu, the bojutsu style it incorporates was originally characteristic of the Kukishin ryu bojutsu. Relatively early in each style's history, a strong bond was forged between their contemporary soke or headmasters. For the Hontai Yoshin Ryu this was the third soke, Takagi Gennoshin Hideshige, and for the Kukishin Ryu this was the fourth soke, Ohkuni Kihei Shigenobu. These masters taught each other their respective arts; Ohkuni then subsequently became the fourth soke of the Hontai Yoshin Ryu. This probably occurred around the end of the 17th century, or in the early years of the 18th century. (Despite this overlap in soke and exchange of techniques, both Hontai Yoshin Ryu and Kukishin Ryu have continued to develop exclusive of each other. The modern hanbo techniques of the Kukishin Ryu are covered in the book Stick Fighting: Techniques of Self-Defense, by Quintin Chambers and Masaaki Hatsumi, published by Kodansha International. The co-author and current soke of Kukishin Ryu, Hatsumi Masaaki, who is featured actually applying the techniques, is better known as a ninjutsu instructor.) Training With the Roku Shaku Bo What is impressive in East Asian martial arts is the variety of styles that have developed for the effective use of the simple six foot staff. Although similarities certainly exist, specific stylistic differences in traditional schools are quite diagnostic. This point was emphasized to me on several occasions by sensei of Hontai Yoshin Ryu-Kukishin Ryu bojutsu, especially in comparison with their perception of Okinawan cho bo style. The latter, they claimed, tends to emphasize a hands positioning near the center of the staff, whereas Kukishin Ryu cho bo emphasizes a more ample te sabaki, or active handwork along the entire length of the staff. These
differences were even demonstrated to me by using hashi ("chopsticks") at the dinner table, where a sensei's scissors fingers (the index and middle finger holding the wood between them) of both hands would manipulate the chopsticks from their middle for their rendition of the Okinawan style, which created a sort of fluttering of the ends of the hashi. In contrast, they would slide their fingers up and down the length of the hashi for the Kukishin bo, creating more of an end-over-end action, that also varied much more dramatically the effective length of the staff. This sliding of the hands along the entire length of the cho bo is characteristic of the Kukishin Ryu, and is emphasized in the style's kihon or basics. The first three formal basics, uchi komi, harai, and tsukue, all emphasize this action in movements that are respectively strikes directed from up-down, side-to-side, and from down-up. In addition, a straight-forward thrust (tsuki), and movements that show influences of the halberd-like naginata also tend to emphasize the entire length of the cho bo, and alternate its ends-with the hands located nearer the opposite or "back" end-for striking. Kihon are generally practiced in a walking format. The student assumes the ready stance, left foot forward and both legs bent with the body slightly crouched, staff held near its front end about waist-high with both hands palm-down (see photo 1). As the right or rear leg slides forward, one of the first three kihon strikes is made, bringing the longer part of the back end of the cho bo forward (again, this can be downwards onto the head, sideways to the temple, or upwards under the chin). In order to return to the (now reversed) ready stance, one needs to slide the cho bo backwards through the hands in an easy, smooth motion. This same stance is used for thrusting, although hands may either be both palm-down, or the front hand can be palm-up. An alternative ready stance is used for the last two formal kihon, a strike to the knee (hiza uchi) and an upward diagonal slice (simply called nagi). These basics are applied from fudo-no-kamae, a stance which takes its form from the powerful image of the Buddhist deity figure Fudo Myoo, who is the fierce protector of law and chastiser of wickedness. Although this figure is most commonly shown with a sword in Nakai (left) and Suhara his right hand and a rope in his left, Miyamoto (right), demonstrate the Musashi, Japan's famed swordsman and artist has left a tsukeiri technique of bo carving of Fudo Myoo which resembles the Kukishin awase. fudo kamae. (This carving is pictured in the Overlook Press [1974] edition of Musashi's A Book of Five Rings, on page 32.) In this stance, feet are angled at about 90 degrees to each other (front foot pointing forwards), the legs are bent, and the cho bo is held vertically at the rear shoulder. The longer upper end of the staff is swept diagonally downwards towards an exposed knee in hiza uchi, or swept upwards in nagi in a motion that with the naginata would slice open a body from below the rib cage up through the opposite collar bone. Both strikes are performed while stepping (all kihon strikes can be practiced while moving forward or backward). Kihon training also includes varieties of flourishing the cho bo, called furi-bo. These include circular motions made to either side, to the front, and overhead, and besides
being visually impressive-in competent hands the staff becomes a blur-such flourishes are intended to forestall and confuse an enemy. To help in acquiring proficiency in the kihon, and to prepare for the formal set of kata or forms which pit the cho bo against the sword, one trains in the intermediary practice of bo awase, the "meeting" of two cho bo. In bo awase exercises, students are paired, with one designated as having an offensive role, the other as defensive (see Photo 2). All of the kihon mentioned above are trained in this manner against appropriate defensive motions. In addition there are several more complicated exchanges between the cho bo that train improved control of the weapon, accuracy, and timing. One of these, called funabari, results in non-stop repartee between partners where defensive and offensive roles shift quickly and smoothly, interspersing head strikes and body thrusts with deft blocking actions. Done at full speed-once proficiency allows-this is not only great training, it is great fun! Both the kihon and bo awase training, though excellent exercises in and of themselves, are used as preparations for the ten bo kata or forms, in which the cho bo is paired against a sword (bokken/bokuto, wooden swords, are always used in bo kata). The set of kata begin with kumi dachi, the formal meeting and bow. The swordsman holds the bokuto at his right side (as if it were a scabbarded katana [actual Japanese sword]), cutting edge down, Roku shaku bo vs. sword kata. and the bo wielder, with his right hand midway on the cho bo, holds the staff at his waist, front end Here, Inoue Kyoichi Sensei (sword) demonstrates the kata angled down. From about two meters distance the with his son Hirohide (bo) at a two execute a formal standing bow, then both kneel on their right knee, sliding their weapons straight New Year's demonstration. between them until their ends overlap by about 20 centimeters. The right hand is placed fingertips to the ground, and another bow is executed from this position. Then the weapons are retrieved and both stand. The ten formal bo kata depict brief, rapid encounters between the cho bo and sword (see photo 3), and each is ended with the participants in the state of heightened awareness called zanshin, with the swordsman in the classic chudan no kamae (sword is held in a mid-level position, right leg forward), and the bo wielder in the basic ready position from which most kihon are performed. Most of the kata assume the swordsman as aggressor, striking from a jodan no kamae (sword held over the head) in a forward and downward cut (shomen giri). Bo techniques include a variety of blocks, strikes, and thrusts, which generally result in the bo user's advantage. In two forms the bo wielder, after a sharp thrust to the swordsman's midsection, actually drops the bo and locks up the swordsman's arms by encircling them at/above the elbows, resulting in an effective double arm/elbow lock, thereby showing some Hontai Yoshin Ryu influence on the bo kata. In the last kata known as tsukeiri, this elbow lock is followed by a near-simultaneous disarming and throwing of the swordsman (kuguri nage is used, which is the first throw in the Hontai Yoshin Ryu nage no kata series). Both of these defensive techniques are also applied by an
unarmed defender against sword attacks in Hontai Yoshin Ryu tachi dori, or jujutsu forms against the tachi or katana.
Han bo kata, in which Inoue Kyoichi Sensei (right, with han bo), having evaded Nakai's sword, counters with a tsuki (thrust) to the midsection.
Like all formal kata, the ten bo kata require considerable skill to work smoothly, and emphasize a variety of abilities including control of ma-ai (distance-timing) and specific techniques. When performed well, the forms are characterized by non-stop flow, where space vacated by one weapon is seemingly magically filled by the other. The impression is strongly reminiscent of the same ju or suppleness that characterizes Hontai Yoshin Ryu weaponless kata. Once the ten bo kata are completed, the participants bow by reversing the kumi dachi procedures described for the opening of the kata.
Hanbo Training Although one can practice specific hanbo techniques as basics, the hanbo is most frequently trained directly in kata against a sword. There are ten more commonly practiced kata, although this does not exhaust the full set of hanbo techniques. One has the impression, perhaps because of the hanbo's more practical length and size (it is commonly referred to as a suteki, or "walking stick"), that the hanbo is a more "living" weapon-with direct street-applicability-than the other traditional weapons, and its practice is more typified by innovations. This seems corroborated by the work mentioned earlier (see Stick Fighting) in the Kukishin Ryu itself, and the fact that at least one Hontai Yoshin Ryu sensei-Inoue Kyoichi-actively experiments with hanbo applications. Hanbo kata are also begun with formal kumi dachi, although here the swordsman and hanbo wielder, after facing off about two meters from each other, draw their weapons and, holding them at a chudan or middle position, squat on the balls of the feet, knees splayed outwards, and bow from this posture, afterwards assuming a formal chudan no kamae. At this stage the hanbo is held exactly as if it were a katana. For the first five kata, this soon changes: once the swordsman reverts into a jodan no kamae with sword held overhead, the hanbo wielder slowly sinks both stick and body into a crouching gedan or low position. Apparently opening the bo wielder's head and upper torso to the swordsman's cutting edge, this lowered position is intended to lure the swordsman into an attack. Responses to the swordsman's forward-stepping down cut are quick, effective, and deceptively simple. In ipponme--the first form--for example, the down cut is narrowly evaded by a slight movement to the right by the hanbo wielder, who virtually simultaneously brings the hanbo up executing a sharp strike with its point directly to the swordsman's left temple. Though apparently simple, this small movement requires superb timing and control of the hanbo, especially in kata, since the strike is to be made with full force and focus (and without residual motion), but
stopped abruptly at about a hair's breadth from the actual temple (in fact, the blow is so sharply focused by a hanbo expert that it will literally stir the hair at the swordsman's temple, much like a well-focused punch by a skilled karateka can blow out a candle by being focused-and abruptly stopped-immediately in front of the flame). Characteristic of the hanbo kata is evasion of the sword blow, and sharp strikes to head or sword, and thrusts to the attacker's body (see photo 4). Not meeting the sword attack directly is quite characteristic of Hontai Yoshin Ryu response to attack, and perhaps further influence of this jujutsu style is seen in especially kata five and six. The former ends with the hanbo being used to lever the attacker's right arm with an immobilizing elbow lock (see photo 5), and the latter, once the hanbo is used to trap the sword hand from actually drawing the blade, has the hanbo wielder close in behind the swordsman with a partial choke hold. All the kata end in formalized zanshin, in which both participants draw back from each other, weapons held in more neutral positions in right hands to the side (for the swordsman, this is essentially a chiburi -"blood cleansing"-motion and posture). The first five hanbo kata are extremely similar to Hontai Yoshin Ryu kodachi (short sword) kata in both structure (stance and positioning) and actual movements. This is important to recognize in understanding Kukishin Ryu bojutsu as actively incorporated in the Hontai Yoshin Ryu. Nearly identical techniques can be traced from the weaponless jujutsu forms-the core of the system, at least as it is practiced today-to weaponless defenses against both long and short swords (tachi and Han bo kata, in which Inoue kodachi), and to bo and hanbo kata. For nearly three Kyoichi Sensei applies an arm hundred years the master instructors of the Hontai lock with the han bo to Nakai's Yoshin Ryu have integrated techniques from both (with sword) right arm. jujutsu and bojutsu styles in a harmonious system of coordinated effort, expressive of an underlying philosophy, theory, and aesthetic of appropriate action. Although Hontai Yoshin Ryu training is most characterized by formal practice of kata, both the weaponless and armed systems are occasionally applied in randori or matches. For both staff and stick this involves the use of kendo-like safety equipment and special padded weapons (for example, bamboo poles with thickly-wrapped ends). Practitioners will pair up and bow, then spar, actively attempting to strike-or defend against incoming strikes from-the "opponent." Occasionally such matches will take the form of actual competitions with scoring and winner-loser results, but more frequently such bouts are open and flowing without such point tallying. Such sessions are great refiners of applicable techniques, and excellent training for coordination, speed, timing, and cardio-vascular fitness. Soke Inoue, the current head of the Hontai Yoshin Ryu, is incredibly strong and effective in these bouts despite being in his sixties, reminiscent of his competitive form in twice winning gold medals in all-Japan jukendo (the bayonet art trained with a rubber-tipped wooden gun) tournaments.
As with other components of the Hontai Yoshin Ryu, there are various levels of proficiency and competence in the use of staff and stick that help in one's understanding of the techniques and in their application from form or kata to actual encounters. There are also nuances based on individual practitioner, and even continuing evolution in the ways both weapons are used. What matters most in the use of both weapons is the development of a smooth naturalness, the spontaneity and accuracy of action that denotes mastery. Although some specific techniques may be easily acquired, the path to true mastery of staff and stick lies in years of dedicated and applied training, during the course of which the student should also be learning mastery over the self.
This article first appeared in "Furyu," Issue #2
I recently received an old NINJA magazine from a friend James Farthing, Amwell Jujutsu. Here is an interesting article from it by Ed Martin, Pennsylvania Bujinkan Dojo
Chain Reaction
By Ed Martin Photos by Cheree C. Martin The author is assisted by Rober
The ninja were faced with the problem of survival. Their opponents were seasoned and experienced in ba The ninja made use of a large variety of weapons in their art. In this article I'd like to discuss two of these chigiriki and the kusari gama. First let us consider the former. The chigiriki consists of a staff that is three or four feet long with a weighted chain of about equal length to one end. A chigiriki is, in reality, a type of Japanese mace. There are a number of traditions associated weapon, the most famous being the Araki-ryu. To this day, Araki is just a few short train stops past Kashi the Tokyo-Kashiwa line. The Araki-ryu was founded by Minamoto Hidetsuna. Hidetsuna saw combat in t Japanese-Korean War (1592AD-1598AD) and was given special commendation. Later he changed his na Araki Mujinsai and founded the Araki-ryu. This ryu is still famous today for its use of jujutsu, the kusarithe chigiriki.
The author, faced with the threat of a sword attack, sw weighted end of his chigiriki at his opponent (1). Enta the attacker's hands (2), Martin quickly pulls back on weapon, disarming the swordsman (3&4). His attacke weaponless, the author again swings the chigiriki (5), entangling his enemy's right ankle and dropping him t ground (6). Quickly closing the distance, he strikes to to finish his defense (7).
Another ryu associated with the use of the chigiriki is the Kukishinden-ryu. The Kukishinden-ryu is one o oldest fighting systems in Japan. It was formalized in its current state by Izumo Kanja Yoshiteru. While b known for its bojutsu, the Kukishinden-ryu has a number of techniques that use a staff with a weighted ch attached. The kusari-gama probably had its origin in the Gyokko-ryu, another ryu associated with the use of chain w According to its history, an early member of the Gyokko ryu, a man by the name of Hachiryu Nyudo, inv weapon known as kyoketsu-shoge. This weapon consisted of a knife connected to an iron ring by a long r Over a period of time the rope was replaced with a chain, and the knife with a kama. It thus became the kusarigama. , Training with chained weapons, i.e. the chigiriki, takes a lot of time and effort. Skill in the use of such we does not come quickly or easily. It is also very unlikely that the student would ever be faced with an oppo armed with one of these weapons. Why, then should these weapons be studied? Obviously for a student to the difficulty and direct the extensive time necessary to acquire skill there must be valid reasons. In this c are at least two very valid reasons. The first of these reasons is in the understanding of the ninja's mind set. It is possible to gain an insight in way ninj a sought to solve problems and, in so doing, aid ourselves in finding answers to our own difficul The ninja were faced with the problem of survival. Their opponents were seasoned and experienced in ba addition, their samurai opponents had the advantage of many years training from the best teachers and in schools of swordsmanship. The traditional answer to the ninja's problem would have been to spend an equ amount of years with those same teachers and in those same schools. Even if the ninja had the financial re to do that, they probably ddn't have the social standing, and so would have been prevented from attending same schools. Quite simply, the traditional answer was not one of the ninja's options. Other options were employed, i.e. firearms, but despite examples such as the famed ninja sharpshooters of Satsuma, these opt didn't solve their problem. Around 1550AD an Uzi could not be purchased at any price - automatic weapo been invented. The firearms of that day were very unreliable, being rendered useless by such simple thing firing cords. The questionable reliability of firearms combined with the very real stress of combat, increas chances of mi§sing a target - even at close range. The result of such a miss was usually fatal, so firearms w a viable solution. Here is where we get our insight into ninja problem solving. A new weapon was needed would cancel the samurai's advantage in swordsmanship.
Threatened with a sword attack, the author prepares his defence (1). As a cut is attempted, Martin blocks with the staff (2) and quickly encircles the attacker's neck with the rope (3). Dropping his opponent, the a chokes while controlling further movement by pinning him with his knees (4).
Skill in this new weapon had to be attainable in months rather than years, and it had to be reliable. What w required to find this new weapon was an open-minded, non-traditional approach to the problem. From thi extraordinarily unusual approach, especially for that time, the chigiriki was born. It was a simple weapon inexpensive material and was easily replicated. It's use was also built on skills the ninj a already had, as th chigiriki could be held in such a way as to appear to be only a wooden staff. The ninja's use of surprise an subtlety blended well with the chigiriki. Its surprising range negated the famed sword skills of the samura enabled the ninj a to fight the samurai with an advantage. Ninjutsu has always been more than a fighting art; it was and is today a way of life. Our first lesson, then great value to be gained from an openminded approach to our own problems. I said there were at, least two very important reasons for the study of chain type weapons. Let's discuss th reason
Any student of a fighting art must have an understanding of proper distance. The ability to accurately and judge distance is crucial to the ability of either defending or attacking. The use of any chain type weapon directly to this proper judging of distance. In practice, the chigiriki and the kusari-gama are usually employed by swinging the weighted chain. At th time the practitioner moves back and forth controlling the distance to the opponent. Obviously, if the opp allowed to get too close, the weighted chain becomes useless Strikes to the opponent come at the precise time when the distance correct. This understanding of time and distance is one of the mos important basic concepts in unarmed combat. When weapons are u full understanding of this basic concept becomes absolutely critica method of training we can find that helps us to improve this skill e our art. Training with the chigiriki sharpens our skill at judging dis makes it possible for us to know with certainty when an opponent close and can strike us. It also allows us to know when we can car attack of our own. The chigiriki and the kusarigama are excellent t honing this skill. Our second reason, then, for the study of chain w to enhance the critical skill of judging distance.
The author faces a swordsman armed with a kyoketsushoge, the kusarigama's predecessor (1). Swinging the weighted ring (2), Martin ensnares t swordsman's hands (3). In response, the swordsm the rope and pulls (4). The author moves with the blocks a sword strike with the bladed end of his w (5). Looping the rope around his attacker's neck (6 Martin brings him down, controls him with his kn chokes and delivers a finishing cut with the blade
The methods and tools we use in training can either greatly speed our learning or inhibit the process. Met used should be designed to prevent injury and build confidence. When making training weapons, use mat that are not likely to cause harm. For the chigiriki use light-weight wood for the staff, a soft rope instead chain, and a soft weight for the rope's end. A tennis ball works very well and can be held in place with co duct tape. The speed of your movements must be determined not only by your skill, but that of your train partner. Any training, that does not consider the skills of both, runs a a great risk of injury to one and was training time to the other. Unless the body learns by slow careful training, it will never be able to supply t accuracy when speed is required. I have heard Hatsumi Sensei tell us many times that the biggest mistake make is to train too fast. Relax, enjoy your training and have fun!
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Forty Years of Ura and Omote By Masaaki Hatsumi "Today, few people understand the true scope of what ninjutsu really is. Even in Japan, the birthplace of the art, few individuals have an accurate concept of ninjutsu. This is understandable to some degree, in that the art was held in secret by a few families in central Japan for many generations. For reasons of personal survival through hundreds of years of social and religious persecution, the art was hidden from all but the innermost circles of the ninja clans. When the true facts cannot be known, people will often make up their own versions of the unknown stories. Hence all the maligning tales condemning ninja as low class, immoral and dishonorable assassins for hire. Fortunately, all of your years in training with me at my home dojo have given you a knowledge of the true ninja ways. I am confident that you will do a good job in bringing the art of ninjutsu out of the shadows of misunderstanding and into the light of truth for all of your followers in the Western world. In teaching others, you will learn much. To fully mature as a warrior in all aspects of life requires forty years of study. The first twenty years are spent in learning the omote of life (the surface, obvious or "frontal" aspects). These are years for training in the concepts of honor, respect for superiors and parents, guidance of your juniors, diligence and discipline in the training, and the strengths of justice, honesty, and forthrightness. The vast majority of martial arts systems stop at this level. The ninja, however, must progress onward through the full experience of life. The second twenty years of your life are then spent in exploring the ura realm (the inner, hidden, not obvious or readily seen aspects), better known as the shadow side of human nature. These are years for training yourself in the ways that honor, respect, and love can be twisted out of shape and used against you, and for looking at realities in which true justice and benevolence are given appearances that confuse the masses who lack the enlightenment of perspective. Weaker souls are quick to label such wisdom as "evil" or "pessimistic". Do not fear the strength you gain. The forty years bring you full circle, having taken you through the full realm of human growth and awareness. You begin with the freshness of innocence, gather the stains of worldliness, and return with the wisdom of innocence. You begin empty, fill up along the way, and return empty. Forty years of training is no guarantee that you will ever be a master of the art. It merely readies you for the potential of total development. From there it is up to your own character, personal nature, and life destiny as to how far you will advance. You will become a ninja in all the power that the word implies if you were meant to be such. I encourage you to keep right on going in your challenge of unfolding all the secrets and mysteries of the ninja art and lifestyle. Your personal progress will be inspiration for all of our students there".
Shinden Gokui -Secret method transmitted from God I found this, amongst a pile of info, that caught my eye as I browsed through the other day.. I think this text is written by Hatsumi Sensei as part of Hiden no Togakure Ryu Ninpo. There was nothing on the page to confirm where it came from, but still makes excellent reading. As the process of learning this secret, there is a ceremony of the initiation by the sixth sense, which lets the student learn this strange technique. The student dressed in white clothes sits motionless in an open room. The master, like a shadow and without making any sound, attacks the student with a sword, like a floating boat. If the student managed to dodge the sword, he got the secret, but if he couldn't, then that was it. There is a similarity between this and the ceramist who destroys his new work if he doesn't like it. One day I was sitting in my master's room when he said to me: "Wait here with your eyes closed, and do not open them no matter what happens." I loosened myself up after I felt he was gone. Soon, I did a side roll after I had felt certain heaviness and saw a shadow as if my body had been split in half. Next I did a front ukemi after I felt that my head would fly away. When I recovered to the position of shizen fudoza, I opened my eyes to his voice saying: "Well done; you can open your eyes." I saw Takamatsu Sensei standing with a sword in his right hand. Being unbelievably calm, I realised that this was the spiritual technique by the sixth sense. I then received the sword from my master. Later I was told that this was Juji Giri Mumei no Itto. A year before Takamatsu Sensei passed away he said to me: "I leave the martial arts in your hands." Nine years since he passed away, I've been training hard and lately, I can assert that this is true Budo. By the way, in the test for Godan in the Bujinkan Dojo, I attack with menace from behind the student who is sitting with his eyes closed. If he dodges, he passes. This is the beginning. This is not just a dodging of an attack from behind. Sometimes you have to know the other side of the world. In human relations, the person you trust might someday betray you. Even then you can realise the courage which keeps the peace through this training. It is just a trick to cultivate only the sense, which permits you to dodge an attack from behind. This kind of mentality makes a distance between you and the truth of life, and ruins life. That kind of mentality is the cancer to correct growth. In this sense Juji Giri Mumei no Itto is the operation to remove this cancer in the early stages. It can also be said that one should stop teaching the person who should not be taught. When you teach a lot of students, then some kind of sense is important. Buddha taught the ten followers, but one failed. One of Christ's 12 followers was a rebel. Even a relationship between the master and pupil has a failure. The relationship between the teachers and students in a modern school system is bad. In these situations it is the most important principle which keeps: to learn the true martial arts mind.
When you pass the test for Godan, the way of training will change necessarily. It changes to invisible training; incomprehensible training. I teach students who have been training for more that 20 years, but only cordially. It would be the instruction of incomprehensibly strange techniques to them. They understand, but they can't do it. They might understand but they don't really understand. Like this, strange techniques start breathing. It's OK with me if they don't understand, because I'm teaching incomprehensible techniques. If they understand, they are Superman. They will improve because they don't understand. One day, one of my senior students came up to me and said: "I heard there is a technique, which allows us to throw an opponent without touching him." I decided to try and teach this without letting my students get hurt. Myself, along with the student and four other students went to a place that had a video camera. Nine eyes are staring. "Come on!" "Yes sir." We passed each other. My senior student flew by me and fell down. A few minutes later he got up with blood coming out of his mouth. "Understand? " "No sir." "Rest of you understand?" "No sir, but we think we will understand with the video which we will watch later." "You won't understand, " I told them. We watched the video, but none of the students could catch the picture in their eyes. This is martial arts. It is impossible to learn the strange techniques with taking pictures and writing down notes. In another way of thinking about this, even if you showed your techniques on a scroll and it is stolen, that's OK. This is the essence of martial arts. Taking pictures or writing down is useless. There is no other way than to study under a master and do what he says. On the occasion of publishing this book, I introduce for your information the part of the book, which Takamatsu Sensei had taught me As a rule of this Ryu, writing down is forbidden. Because if you write down, the depth of its essence comes to an end. The martial arts will be the secret without limitations. So writing this book is against my will. Even if I write with explanation for later study, nobody will truly learn. As Takamatsu Sensei said, "Learn with hard training. " One year before his death, Takamatsu said to me: "You are a fine martial artist now. I've been rewarded the favours of my masters." I was half in doubt. I believed that you could master the essence of the martial arts a few years after you are taught. So since the master passed away, I have been asking myself for nine years, and now I decided to publish this book. One day, I talked with a conductor who was living in the USA, about the expression of the martial arts by writing is just like a sheet of music. Martial art has grown from the space of the unlimited zero, which was maintained in the paper. Even if a computer were developed to hold all the information, it wouldn't be able to calculate the zero. Even if it did, they wouldn't be able to pressure the strange techniques of the zero without reaching the stage of the consistent martial arts-like power. The dreamlike martial artist is living in such a place.
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SISTEMA DE GRADUACIÓN EN LA BUJINKAN BUDO TAIJUTSU
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Sensei's Online Journal Hatsumi Sensei Speaks... "Your life is on the line. Practice well." "The enemy who is against the laws of nature will lose his battle before he begins to fight. The first priority to the ninja is to win without fighting." "You are not just fighting one opponent. You are fighting the unknown." "I am teaching 'shin gi tai ichi.' (Bringing spirit [shin], skill [gi] and body [tai], into one [ichi])." "You must not stop in the middle of waza, make your waza alive, without a natural flow your waza cannot be alive."
The one good thing to come of these pages is that I am starting to shift through the infomation that I have looking for interesting things to share and finding things I never even knew I had ;-). I found this in a magazine I have over looked for years and enjoyed what I read. I hope you do to.
In this world, there are many theories about when human beings started to use weapons. It is impossible to give just one theory as the correct one. Instead of a deciding upon a theory, let us begin to think about the first Homosapien, the first anthropod and the first of the other earthly animals who \ which used weapons. My thoughts continue on to the first cosmic being to use weapons. I am not leading you into a world of delusion. But by imagining these things I want you to think freely about the existence of your God. The God, creator of the creatures, what were his intentions for making weapons seem necessary? In Japanese paintings of Gods, we often see the gods are leaning on sticks like the ones used in hanbo jutsu. Of course, all of you know of the word "worship". But most of you probably think of "worship" in the terms or religion. In Japanese, kanji character's the word worship (shin-ko) is written as a compound of two characters: to believe and to respect. To respect one's parents, one's boyfriend or girlfriend, instructor and one's spouse: these are my examples of worship. To respect something or someone which / who is important to you. If the word respect holds negative connotations for you, then perhaps the word "love" would be more sufficient. My teacher, Takamatsu-sensei, often said that if one does not worship someone or something one will not be able to succeed. But if one holds something /someone so dear that he worships him /it, he will, without exception, succeed. In Japanese, we sometimes refer to someone superior to us as "kami",a homonym to the word God. I was able to will become a ninja master because I worship my "kami", Takamatsusensei.
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1/ Now let me show you a waza technique using the staff in a vertical position. 2/ Stephen grabs the staff with his right hand and prepares to punch me with his left. 3/ At this point I drop back and kneel on my left knee to avoid Steven's fist. 4/ I now put my thrusting a body in to nagashi gata (flowing style). While falling, I break Steven's balance and then throw him over me. 5/ & 6/ Differentiating the distance between our bodies, I gain the advantage over him. The most important point to remember when using the half staff is commanding the staff as part of your body.
The half staff is said to have first been used in a sword like manner with only the handled part scraped down. Another theory says it was first used to direct to the troops. Let us now consider what a Raymond A. Dart, a historian, found out through his research. Humans have been at peace for only one out of 17 days in the course of history. This means that a through 5000 years, there were only 300 peaceful years. Because of this horrible probability, some have said that culture and civilisation have developed by the stimulus of violence. Let me now give a few examples of the battles fought with the half staff from the golden records of a Japan. This battle, recorded in the Nihon Shoki and Kojiki (which are two of typical chronicles of Japan ) occurred in a the 8th century A.D. Prince Yamato Takeruno Mikoto planned to defeat a brave warrior of Izumo, Izumo Takeru. Prince Yamato went to visit the warrior and sought to shake hands with him to show Izumo his good will and friendship. The Prince then invited Izumo to take a cold bath with him, saw that they might speak of battle strategies in they're nakedness (Japanese have a saying "naked companionship" which means to hide nothing from each other.) while the Prince and the Izumo warrior were bathing, one of the princes retainers carried out the princes plan; he exchanged Izumo's steel sword for a look alike akagashi (red oak) would sword (which I suppose looked like an iron sword). To put the action into a ninjutsu term, he used "mokoton no jutsu" (a technique practised by the use of wood). The Prince and Izumo were absorbed in a heated discourse on combat strategies. One would tell the other about a foregone battle and how he won it by using this or that technique. Then the other would say in that circumstances another technique would have been a more efficient. In this fashion, the Prince led Izumo into a trial at physical confrontation. They got up out of the water to fight. Izumo unaware of the Prince's plan, swung at the Prince with the wooden sword. The steel sword of the Prince was broken in half by Izumo's wooden sword and the Prince was soon sadly defeated. In this way a
warrior, through cunning and guile, used a wooden sword to defeat another warrior who originally had a steel sword.
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1/ Stephen goes on the offensive. I hold the staff at hira no kamae, parallel to my body. 2/ As Stevens hands come close, I strike his left hand with the right side of the staff. 3/While still in a that position, I'd put my right foot forward and lead the staff to the right side of the Stevens neck, pushing his right arm. 4/ Releasing my left hand, I grab the outer end of the staff and a strangle him. My left knee takes Stevens left knee to destroy his a balance. 5/ Now both of my knee's work at breaking his a balance. If Stephen a tries to grab the staff, I can make him a let go with slight body movement. 6/ Now I thrust the stick into Stephens left side. 7/ Taking Stephens left hand with my right and holding the butt off the staff with my left, I make my move according to Stevens movement. 8/ Regaining hold of the staff with my right hand, I work it against his elbow using my knee. 9/ If Stephen moves, I tighten my hold by grabbing a the stick with my left hand again. 10/ Depending on the direction that Stephen falls down, I hold him on his back or his side. 11/ My hold can a change in many ways. 12/ Look carefully at my legs. They do not seem to control Steven's body, but indeed they do. 13/ I change my position and hold him a lightly but he is not able to move.
In 1339, another story involving another possible origin of the half staff was recorded in the battle journal (Senki) of Japan. In January of the third year of Engen(1336-39), Ashikaga Takauji and his army attacked Kyoto. Defending the city was Yuuki Chikamitsu and his troops. One of Yuuki's retainers, Ookuni Taro Takehide battled with "Gooketsu" (an extremely strong and unusually large man) of the Ashikaga army. Ookuni was using a tachi (a fat sword) over three feet long. The "tachi" came down on Ookuni's spear with the power of a giant axe and left only a three feet long stick. Ookuni held the stick in one hand spread his arms in the "Hira no kamae" and then bid the " gooketsu " to attack. The Gooketsu, angered by the boldness of Ookuni, raised his "tachi" high in the air and brought the blade down with the power that would have split the warrior in two,armor and all. Ookuni remained calm; he used "Taihen jutsu" to avoid the blade and forced his staff into an open space in the Gooketsu's armor to throw it off. In the return stroke of the staff after throwing the armor off, he struck the top of the Gooketsu's head,cracking his skull. This story is one of the theories of the origin of the half staff. Since these olden times the ninja developed the " shinobi san jakubo jutsu" (ninja's half staff technique) by hiding "kusari fundo",blade, "metsubushi powder" (sight removers) into the staff. I hope this lesson will help in your training period.
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Have Sword...Will Travel I have started to post a few of Charles Daniels articles, so I thought it might be interesting to read this interview with him. I have never met, trained or even seen him train so I am unqualified to comment on him, but he has alway's struck me as a weapons man (which makes him OK in my book) ;-).
Ninja : Can you tell us something about your training ? Daniel : I have been lucky enough to train with most of the better known instructors who, because of dojo obligations, do not get to travel around and visit other dojo's both within Ninjiutsu and other styles. You know, I often hear people say the the historical Ninja were trained from birth and anyone not trained in this way can not really be able to do the techniques of Ninjutsu. The more I thought about this the more I have come to the conclusion that there are many people who have in effect been trained from birth. Ninja : How is this possible? After all, ninjutsu really came to America sometime in the 70's. Daniel: Well lets look at what one means when they say trained from birth. Also, and this is far more important, lets look at what one does when "training from birth". First of all, children thus trained have to start out playing games that will help them in later life. Balance games, special games to develop hand-eye skills and of course endurance and strength are all important. Later, perhaps in the teenage years, special skills such as fighting would be learned. Interestingly, many children in America grow up playing sports and games that are not all that different from this. I grew up playing a variety of sports such as football, baseball and basketball. Later I learned to box and I wrestled in competition. Like many Americans I learned to shoot so early in life that I can not ever remember a time when I did not know who to use a gun. There is nothing unusual about this and this may help explain why ninjutsu has such a large following. Ninja : What about other martial arts? Have you studied others ? Daniel : Yes, before ninjutsu I was training in Hapkido. Since I came back from Germany in 1984 I have spent more time with instructors of other styles than I have with ninjutsu practitioners. This might sound strange, but there are many experienced martial artists who enjoy exchanging techniques and idea's. If one has not done some hard training with a variety of styles, then how can they have any real confidence in what they are doing ? This is not unusual for many practitioners of ninjutsu. Dr Hatsumi has a variety of ranks in martial arts. Major Manaka has travelled the world
with elite military units all over the world. Dr Higuchi has an open door policy and even encourages his students to study a variety of styles.
Squared with his attacker.....
the ninja parries the downward cut straight to the ground
The ninja then drops his opponent by smashing his right leg with his knee
rising.....
the ninja finishes his man with a powerful blow. Ninja : At the recent Ninja Summit you gave a talk on the historical development of western fencing. How did you get interested in swords ? Daniel : Actually, that all started as a part of my training in ninjutsu. I was fairly lucky in that for a long time when Taro Yoshikawa and I trained together, I was his only student. During that time he stressed muto which involves unarmed technique against the sword. In order to understand how one can dodge or even take an opponents sword, one must of course know something about how a sword is used. For this type of training, a sword is very important because every hand held weapon is
contained in a sword, except of course projectile weapons such as pistols. But even these weapons have a line of attack not unlike a sword cut or thrust. At the beginning I spent more time studying Japanese sword technique. However, there are a large number of techniques that the Japanese do not have because of the design of their weapons or their particular way of fighting. For this reason, I branched out and began doing research in old weapons books written in the 16th and 17th centuries in Europe. These books were rather difficult to find and translate, but the effort has paid off. Also, I trained at the Atlanta Fencer's Club. Ninja : Do you consider yourself a specialist in the sword? Daniel : No, not at all. I have studied the sword because it is one of the more difficult weapons. However, like most people in ninjutsu, I have trained with a large number of weapons. In taijutsu many of the principles used to perform unarmed technique carry over to weapons. This same thing - is found in most martial arts. However, I personally look at weapons as nothing more than tools to help my taijutsu or unarmed technique. It is only natural to speak of weapons as giving an advantage to the armed party. Thus if one trains against a variety of weapons when unarmed then they will naturally come to a wider understanding of distance and timing and learn how to apply their techniques in situations where they are at a disadvantage. Ninja : Could you say something about the way you train. Daniel : One of the main components of my training is that it stresses the proper use of basics under a wide-variety of situations. Proper footwork to avoid an attack, distance and timing drills receive a lot of attention. I firmly believe that one never finishes the basic techniques of any martial art. So stance, footwork, distance, timing and very basic techniques make up the majority of how I train myself and others. This may sound simple at first, but let me give you just one example of just how difficult basics can be. Everyone knows that the Japanese sword art of kenjutsu is concerned with the combative use of the sword- the cutting down an opponent. However it is shocking for most people to find out that many people that practice kenjutsu and kendo do not know how to cut with a sword. And often people who have a little skill in this area are totally ignorant of how armor can influence cutting. Of course one could always claim that no one wears armor anymore but in that case they would look rather silly training with a sword in the first place. Basic techniques do not have to have any relationship to real fighting that a non-expert can see. Of course there are people out there who know such things and they probably should be considered expert swordsmen. Ninja : What do you think about the element of mysticism that is often associated with ninjutsu? Daniel : Personally I think a great deal of it is just done for the sake of marketing a product. Much of it is along the lines of "I have a secret" which is, of course, nonsense. There is definitely a process of (for lack of a better term) mental of spiritual strengthening or training that goes on in all martial arts, but these are based more in hard training and proper understanding than in any particular secret. The process of training day in and day out has much more to do with how skilled someone is than
who trained them or what style they practice. Of course proper understanding is just as important because without that, one will not train themselves correctly. Ninja : I think that there are a number of people who would say that you sound like you don't think instruction is all that important. Daniel : Well after one has learned the proper basics it really isn't, except perhaps on what I call an encounter basis. That is if one is training properly then they probably need to see an instructor more on a fine tuning basis than on a day in and day out basis. If one spends too much time with an instructor then they will lose the habit of finding answers for themselves.
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This is a short introduction to the art of So Jutsu. The exact origin of spear technique will probably never be known, but perhaps one origin comes from the Mongol invasion of Japan where the Japanese tactic of single combat almost cost them their country in the face of the Mongol tactic of a mass engagement. During these battles, hordes of Chinese warriors, conscripted by the Mongols for the invasions, met their fate at the hands of skilled bushi wielding razor sharp swords. The Chinese, however, were formidable Spearmen. As a result, a new interest in the spear arose among the bushi. Japanese Spear is mostly a two handed weapon designed for piercing or stabbing attacks to exposed areas between the plates of the Samurai armour. Spears were rarely thrown. Long wooden shafts were tipped with a straight double-edged or triple edged blades. There were other varied types of Yari as well. These took up the characteristics from the spear and hook or sickle weapons. These types of Yari are called Kamayari. As well as being used as stabbing or piercing weapons Kamayari could also be used for a variety of other purposes. The hooked end could be extended up over the tree limb, castle wall, or a ship's side becoming a climbing tool. Traditionally Japanese fireman in the Edo era used the Kamayari to pull down the eaves of a burning building ,to help stop the fire spreading to nearby buildings. As a fighting weapon, the straight edge could be used to stab, cut or pierce the opponent, while the hooked section of the blade could be used to snare clothing or hook limbs. Perhaps another simple use is when the opponent is below you. The Kamayari could be lowered blade first, past the opponent and catching them in a the neck from below. Another important part of the Yari is the opposite end of the shaft, which contained a weight to counterbalance the blade which was called an ishizuki. This allowed the opposite end of the spear to be thrown at the opponent with considerable weight. In a recent archaeological excavation of a medieval Japanese battlefield, one of the most common causes of death was from a fractured temporal bone (which is located at the side of the head) which is believed to have been caused by the ishizuki striking in to the head. Below are some quotes from Hatsumi Sensei's So Jutsu book: "when soldiers would battle with an opponent who was protected by armour and helmet, a spear gave them an advantage compared to a sword. It was difficult for a
sword to a deeply pierce an opponent protected with a helmet and armour, but a spear could penetrate through the armour and strike the opponent down, or trip his legs. With a spear it was easy to stab between the gaps in the armour. So, the soldiers soon realised that the spear was 10 times more effective than the sword". " According to Shinden Fudo Ryu Dakentaijutsu: it originated with a native of Shinmon Izumo called Izumo Yoshiteru during the Eikyu period. During the Seicho era, Shinmon Kokanja Yoshikane started the Kushin Fudo Ryu Dakentaijutsu, Swordmanship, and Sojutsu. This is the first reference regarding this ryu that can be found. Mizuhara Kuro Yoshinari was a lord of Mutsu Mizuhara Castle and he is rumored to have been a descendant of Yoshitsune. Around the year Kankyu 7 (1197), he was reputed to be an authority of Dakentaijutsu, Bajutsu (horsemanship), Sojutsu, Swordmanship, etc. etc. He also excelled in the lai (art of drawing the sword) of Shinden Fudo Ryu, and his sword could not be seen by the naked eye. There are other records in the Amatsu Tatara Kushin Hibun which is said to have two scrolls on secret views of the sword and the spear......" Showa 59, Jan 21st Written with blessings on the Day of the Tigers snowing outside. Haku ryu Hiso: Record of the Secret Spear This is not only speaking for Sojutsu but as a general rule regarding the way to defeat an enemy: in manner you must be disciplined, in technique you must be precise, with power you must have adaptability, success requires inner spirit, to achieve the absolute requires unification. In general the method of Sojutsu is based on logic which shows a weakness when expectations are applied to it. Taijutsu should be moving freely, Crisscrossing like a flying bird, charging with courage, retreating silently. A person with this attitude can charge and attack the enemy with correct timing. You should not be afraid of the enemy. If you find fear in his face you should charge and fight. This is the essence of the Secret Spear and Sword. Hisojutsu: Record of Secret Spear Technique A person who practices Sojutsu should not lead an irregular daily schedule. He should neither eat too much nor should he eat too little. As a general rule, in battle always keep the mind on winning. If one keeps going with this spirit he can win even a crucial fight, maintaining a fighting spirit throughout techniques. One should change techniques variously, keeping the enemy guessing while maintaining a calm mind; to win one must first have the spirit to win. If, looking in the opponent's eyes one sees fear there, then one will manifest the same fear in oneself. By taking the opponent in too casual a manner one runs the risk of
losing the battle, and by fearing the enemy unnecessarily one will not win the battle either. Both ways will lose the fight. One must keep the mind focused and the body prepared. In this well balanced state one is in the proper condition to fight."
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Israel's First Dojo The dry, barren land that not too long ago was miraculously transformed into the lush, nearly tropical paradise called Israel, now bears witness to the rapid growth and development of yet another sovereign state: Ninjutsu. And while the importance of its existence may not shake the political foundations of the world at large, to its dedicated students and devoted instructors it is ample reason to celebrate. It mirrors what the grandmasters must have had in mind so many centuries ago. The unique dojo that Doron Navon, 7th dan in Togakure ryu ninjutsu, formed in Israel more than 12 years ago is the closest to the original outside Japan. Where else in the western world can you find more than a dozen black belts getting shihan?level instruction on a weekly basis? Where else can you feel the rich, expressive, vibrant atmosphere of the Japanese dojo? In the summer of 1974 Doron informed Hatsumi Sensei that soon it would be time for him to return home, to Israel. Less than 10 people were practicing with the grandmaster at that time. The tender situation in the Middle East those days, a little after the "Yom Kippur War", was well known to Dr. Hatsumi, and from the day he learned of Doron's departure from Japan until the very last training session, Hatsumi Sensei demonstrated special techniques and maneuvers he thought would be suitable for the martial conditions that existed in Israel. "This is for your country," he would say to Doron while executing a powerful armlock. "This also might be useful for you there," he added on many other "painful" occasions. The sayoriara (goodbye) party was a little bit sad, but nothing could be changed. Hatsumi Sensei had given Doron his Instructor's certificate as well as his blessing for founding the first ninjutsu dojo outside Japan. When Doron returned to Israel in November 1974, ninjutsu wasn't even heard of in the western world. Even the Japanese hardly knew anything about it. He had to start everything from scratch: find a suitable place to teach, gather some students, and form an appropriate densho (curriculum) that would include all the elements he himself had studied in Japan. This was one of Doron's hardest years. But enthusiastically he started the dojo in a small garage of a friend's house, just outside Tel Aviv. He did not advertise. The first students were friends who had known Doron before he went to Japan. Friends they were indeed, but human, too, and some of them could only endure a certain amount of pain. Friendship was maintained, however, and respect was there, but not many stayed to practice. And as might be expected, some unsavory characters who wanted to use
the techniques for wrong purposes came along to practice; but they were quickly spotted, as they obviously lacked the inner discipline necessary for true ninjutsu training. Their arrogant questions were answered with some very painful replies, and when they realized the atmosphere was not in their favor, they simply stopped coming. An article I wrote in the weekly magazine of `yedith Ahronoth" national Daily, describing the adventures of "The Mongolian Tiger", known as Toshitsugu Takamatsu, the 33rd soke, brought more people to train. The small garage could house only eight people at a time, however, and in summer the heat was unbearable. A new place was sought, again in Tel Aviv. This time a larger garage was found and a genuine tatami (mat) was put wall to wall. The cover was similar to the tatami in Japan, but since the filling was not rice?straw, it could not take the humidity and deteriorated rather quickly. Training of course did not stop each time the mats were replaced. In fact, the situation provided a great opportunity to train in a field nearby. The terrain was ideal: Loose ground, a few bushes, not too steep; and it was fun to practice in the dark. One training session was particularly memorable. A herd of cows had been there not long before but the smell was not noticed at first. Only after a mistaken step in the disaster area did everyone realize, that they were in a "minefield". There were no real casualties, just the need for a good wash! In the summer of 1975 a guest from Japan arrived. Shihan Tetsuji Ishizuka, then 7th Dan, came to see his friend Doron, and the dojo. He taught a few classes, had his picture taken demonstrating some techniques, and inspired everybody with his charm and his excellent ability. His visit was something to remember; and it also started a wonderful relationship between him and Doron's students who at that time were not fortunate enough to go to Japan. Training went on, with emphasis on taijutsu, the empty?hand techniques, gathered from the eight ryu of ninjutsu. Those consist of Togakure?Ryu Ninjutsu, GyokkoRyu Koshinjutsu, Kukishin?Den Ryu Happo Hikenjutsu, Shinden Fudo Ryu Daken Taijutsu, Koto Ryu Happojutsu, Gikan Ryu Koppojutsu, Takagi Yushin Ryu JuTaijutsu, and Komugakure Ryu Ninpo.
All these styles of ninjutsu were similar in many ways, but they also varied. Each contained most of the elements of the others, but each had its own special techniques. Gikkan Ryu, for example, emphasized the breaking of bones; Fudo Ryu was easier for smaller people, although big guys could learn many of its useful techniques as well. In his years of study in Japan, Doron took the initiative to learn not only from Hatsumi Sensei, but also from the five Master teachers: Fumio Manaka, Tetsuji Ishizuka, Koichi Oguri, Hideo Seno and Tsunehish Tanemura. Practicing with them revealed that their knowledge was not identical at all. There was, of course, much in common, but each of them had also received something different in the way of instruction from Hatsumi. After group training with Hatsumi Sensei, Doron usually continued his practice with one of these five in order to learn more of their own repertoire. At that time Hatsumi Sensei was not well. His body was worn out from excessive workouts and too much practice. A dangerous fatigue was setting in. He feared he would not be able to practice or teach, and to prevent the loss of all his knowledge, he taught each of his senior students one or two of the eight ryu that are combined in ninjutsu today. Sometimes the same techniques had different names, sometimes they were totally different. When ill, Hatsumi went on practicing very slowly and very gently with Saito Shihan one of his students. After a while, with the tender, loving care of his wife and the help of his students he managed to recover. Then he completed his students' knowledge in all the ryu they were not specialized in. Today, by the way, they all bear 8th Dan rank. When Doron arrived in Israel, there wasn't a complete densho for the whole system. He had to summarize everything and make a syllabus for his Israeli students. He had had experience teaching children in Hatsumi's dojo, but there he had been under the guidance of the master. Now he had to use his own initiative. Doron painstakingly developed a well?balanced program containing all the elements from each of the ryu in the Bujinkan Dojo System, emphasizing the basic movements necessary to develop skilled warriors. Eight years later, when Hatsumi Sensei published his taijutsu book (in Japanese), Doron saw that the book was written along the same lines, encouraging the same style and the same system of instruction that, he, Doron had been teaching. It confirmed what Doron had known instinctively all along: that he had been correct in his approach to teaching others.
The same system has been working for more than 11 years, with certain changes and innovative additions according to Hatsumi's instructions. The mystic aspects of ninjutsu and their related theories are stripped to the bones, as Doron says: "Many of the myths of ninja with supernatural powers were created purely for the superstitious outsiders. There was no magic involved, just finely trained senses, awareness and insight on the ninja's part. Combining this with his ability to utilize all elements to his advantage, to the uninitiated it was beyond comprehension. To the ninja, however, these "supernatural" powers were nothing but simple and obvious knowledge. Spectators who come merely to watch a training session will never be able . to tell what ninjutsu is all about. It resembles a mixture of jujutsu, aikido, judo, karate, boxing, tae?kwon?do, wrestling, sumo, kung fu, ballet ? and as a matter of fact, elements of all the above are indeed a part of ninjutsu. The teaching structure is based on the original Japanese densho that Hatsumi received from his teacher Takamatsu, written on many scrolls. Some of the drawings of the late master are pictured in Hatsumi's books in the Japanese language. The Japanese densho with the additions of master Hatsumi is further enhanced by the experience of Doron, gathered during his many years of teaching. Most of the awareness and the so?called "supernatural" knowledge of ninjutsu are acquired naturally while training in taijutsu. Shidoshi?ho Moshe Zouler, 3rd Dan, is proof to the system. While serving in the army he was sent to Lebanon in the 1982 war. He was ranked 1st?kyu at that time. His unit was sent forward to capture one of the summits, and he remained with two more soldiers. to
cover for them. The three found cover in a seemingly peaceful area and stayed there for a few hours. When it was almost dark, Zouler suddenly felt something strange. They had been facing south all the time, but Zouler's eyes were suddenly drawn eastward, and soon his legs followed. There he found hiding 50 yards away, a terrorist armed with an R.P.G. (Anti?tank Rocket Launcher) ready to fire. The ensuing battle was short ? and Zouler is alive and well thanks to his razor?sharp instincts and the good sense he showed in following them. Zouler recalls that during the whole war he felt danger sometimes, and more secure on other occasions. At that time, it should be remembered, he was a simple soldier and did not possess any particular strategic knowledge. But later, when the war moves were analyzed publicly, he learned that his inner feelings were right. The places that he had felt the danger in, it turned out, were full of terrorists, and a lot of bloodshed took place there. Other places where he had felt relatively safe, proved to be areas of little or no incidents. Army service is compulsory in Israel: Three years for the men, two for the women. What might be called "ninja tactics" of stealth and survival training are part of the curriculum. Still, there is a lot to learn outside the army about the individual fighter, as army training is designed for groups, while geared for the individual. Ninja training is directed in such a way that it can be applied in all aspects of life. Awareness and openness are stressed, as are independent thoughts and ideas. Hence, all the elements of basic ninjutsu concepts are taught in the Bujinkan Israel Dojo. Some of the more exciting practice sessions are left for the annual month "milu'im" (reserve) in thearmy, also compulsory for each Israeli citizen until he reaches age 55. Those who studied ninjutsu in their youth, have found it useful during their army service. The three years of military duty tears most young students away from ninjutsu training, but as soon as they have army leave they rush to the dojo to train. Some even come to the dojo first, still in uniform, still dirty from their army training. They train in their army uniform, and only after the lesson would they go home, usually to sleep for the whole weekend or until they had to go back to thbir unit. In ninpo, actual fighting is the last thing to do; so it is not due to joy and happiness that these young people go into the army, but because of the circumstances with the
neighboring countries. The current dojo radiates a special atmosphere. Any stranger can feel it, even those who are not related to the martial arts. An unpaved road leads to the building which was originally designed to serve as ninjutsu training is more often a chicken coop. Many of the students at the time worked extremely hard for almost four months to transform the coop into a beautiful dojo with flowers and trees all around it. Knives, swords, long and short sticks hang invitingly on the wall. Most beginners are not allowed to touch them, but they know what to expect. They are permitted to watch some of the advanced training given by Doron Navon; and from that aspect there is a lot to see and a lot to learn. Beginners have to stick to the basics and develop their taijutsu and taisabaki before weapons are introduced. Basic taijutsu is essential for proper usage of any weapon in later training. At the back of the surrounding area there's a deserted army camp, an ideal site for survival and other ninjutsu training. It is often used for meetings that bring together all the Israeli ninja practitioners. One other very much loved spot is the Mediterranean beach. In summer ?and almost ten months a year are summer in Israel ? training is on the long, sandy beaches, away from the crowds. Sometimes joggers stop by to watch the "crazy people" rolling in the sand and splashing in the water . . . and most of them end up joining in just for the fun of it. The happy, healthy atmosphere in the dojo inspires almost everybody. It is sometimes difficult for martial artists of other disciplines to watch a class which does not go according to "the book" demanding strict orders and complete silence. But the laughter and joy do not detract from the seriousness of the training. On the contrary: a class without a good joke will always be somewhat incomplete. The Israeli Bujinkan Dojo is structured like a school with several levels. The beginners, for the first three years, the advanced for another three, and the instructor's class which consists mostly of black belts. When Doron is away it is taught by one of his shidoshi students. It is considered a very special session and all the instructors do everything they can to attend. The small size of Israel makes this unique class possible. Tel Aviv is right at the center of the country, and there's hardly more than two hours drive to each corner. But not only this class is special. The warm, sincere personality of Doron and the trusting, innovative atmosphere he has created inspires all students in all classes. Each student in any group would tell you, he wouldn't give it up in exchange for a million other classes anywhere else.
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Juttejutsu - Ninja weapon of authority. by Charles Daniel
The weapons of old Japan were many and varied. As time passed, many weapons came to represent different social classes and ideas. This is, of course, a generalization, but the sword was usually associated with the upper class, while the naginata became thought of as a woman's weapon. Even the spear was to a certain extent associated with religious classes. The jutte however, became a symbol of authority. The association of the jutte with authority did not come about overnight. The weapon itself has, on first inspection, little to recommend it. It is short, and thus limits its user to mostly defensive techniques, and with the exception pf the cross guard attached next to the handle, it is really little more than a glorified stick made of iron or steel. However, the simple (some would say even crude) cross guard is what makes this weapon more potent than expected. Contrary to what some authors have claimed, the jutte is not a "new" weapon to the Japanese. It did not develop during the Edo period (ca 1600 - ca 1869) but is much older. In fact, the famed swordsman Musashi's father Musani, was supposed to have been an expert with this weapon. To what extent the father's skill with the jutte influenced Musashi in later life is unknown, but it is doubtful that young Musashi did not receive some instruction from his father. During Musani's lifetime, the jutte was, in all probability, just another small weapon that was carried by some samurai that had developed a taste for it. It probably fell into the group of weapons such as the shuriken, manriki kusari and some forms of stick fighting that were intended as back-ups to a sword or spear. It should be noted that such back-up weapons were of more importance once one moved indoors, where swords were not usually worn, or where they were too long to be used freely in a limited space. The jutte is exclusively a close combat weapon and, in cramped quarters, its potential can be clearly observed. The jutte is designed so that its user can trap, and momentarily hold, an opponent's weapon. Generally, that weapon is a sword, and the jutte was particularly effective against the sword when the conditions were right. This is important, because after the arrival of peace in Japanese society, the jutte became one of the weapons of choice among the police of that era.
As a downward cut is
releasing the weapon
delivered, Charles stops the blade in the Jutte's prong
Sliding the Jutte down to the blade to the sword's tsuba
Charles gains and dropping the man. control of the sword's handle with his free hand as he kicks out at the attackers knee
During the warring states period, the police of the time had used three long weapons to deal with a swordsman. These were the sasumata (a type of war fork), the kumade (a sharp rake), and the mojiri (the sleeve tangler). All of these weapons were mounted on long poles, and were designed so that it was possible to take a swordsman prisoner alive, if not always healthy. After the arrival of peace, these three weapons were replaced by the manriki kusari (a weighted chain about three feet in length), the rokushaku bo (six foot staff) and the jutte. Some authors have cited this change as evidence that the swordsmanship of the period was on the decline, because in open conditions, only the roshakubo would be more than an equal to a katana. The jutte and the manriki kusari were both too short to be effective if the swordsman had room to move about. This last statement seems to have been overlooked by a number of writers who have attempted to explain just how such weapons as the jutte became more important than the far more deadly sasumata or kumade. The reason for this is much the same as why the sword became more important than the spear (in Japan anyway). As the need to be constantly on the move from one battlefield to another changed to the need to stay in one place and administer estates, the Japanese warrior moved inside, and began spending more time indoors. With no battles to fight, one had more time to stay at home. This of course, meant that more and more police arrests would also take place indoors. Needless to say, weapons with very long handles would not be all that effective in the often cramped Japanese houses. Also, the long sword which was the favorite of the upper class was not as effective when one was unable to swing it freely. The house's interior simply got in the way. The other choice would be to use a kodachi or short sword, and it would just be a match for any of the weapons mentioned above, if at all. Thus, the rise of the jutte as a symbol of power and position could in all probability be traced to the Samurai moving from the outside of their houses to the inside. The relationship of the jutte to the ninja is made clear when one realizes that the men who acted in the role of police for the Tokugawa shoguns were often hired directly from the families that had one time served as-ninja. This would be consistent with the many other weapons used by the ninja in that many of the weapons were designed to defend against the sword. Also, bojutsu would seem to have a central place of importance (along with taijutau and shuriken) in the ninja's fighting skills. As to whether the use of the ninja as policemen by the Tokugawa influenced what weapons were used is not known, but it is interesting to wonder about such things. The techniques of the jutte are very closely related to those of taijutsu or jujutsu. This is because contrary to popular belief, it is not very difficult to free a sword or other weapon from the jutte once it is trapped by it. The real key is the amount of time such a freeing action takes. During this short interval, it is possible to close with the opponent and down him with either blows or joint locks. Also, one often just avoids the sword cut and smashes the opponent's hands with the jutte. It should be noted that the butt end of the handle is also used to strike, and the sharp edge of the cross guard
can be used to cut an opponent. The basis of all juttejutsu is good taisabaki (body movement). Without this, one cannot hope to avoid the opponent's attack or trap his weapon. Often, one will hold the jutte down so the opponent does not see it until the block is made. Training with the jutte is normally done through the kata method in which techniques are practiced in exact fashion. There is, however, the sport of taihojutsu which is practiced by present-day Japanese policemen. This sport allows for sparring with a number of weapons, one of which is about the same length as a jutte. Although the taihojutsu weapon does not have a cross guard, it can be very useful in giving one the feeling of what it must have been like to have confronted a swordsman with this short weapon.
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The legendary Kuji~In (Kuji~Kiri can be found here)
The nine finger "cuts" that give the Ninja their power. Although believed to be a Ninja secret the Kuji~In was also used by the Samurai. Where it came from no one is sure but it does have similarities to Hindu and Tibetan Mundras. The Kuji~In is more a way of concentrating the mind than weaving magic with ones hands despite many Sensei and Movie companies attempts to prove otherwise. Below you will find a series of pictures showing the hand and finger positions for the "popularised" version of the Ninja Kuji~In. There are several different versions of these finger symbols that are used by the Ninja and Samurai. I have chosen only to show the basic form as I believe the secret forms should only be passed on to ones highest ranked students. It should be stressed that it is more important to get the mind correct than it is to have the exact finger positions. Each cut represents one of the Nine levels of power. I leave it to the student to decide what is meant by "power" but it has been proven to me time and time again that as a student progresses so does his level of thinking. I will hint at this during the description of each cut. The Nine Levels Are :RIN - STRENGTH of mind and body KYO - DIRECTION OF ENERGY TOH - HARMONY with the universe SHA - HEALING of self and others KAI - PREMONITION of danger JIN - KNOWING THE THOUGHTS OF OTHERS RETSU - MASTERY OF TIME AND SPACE ZAI - CONTROL of the elements of nature ZEN - ENLIGHTENMENT When you practice the cuts you may wish to concentrate on one at a time or you may feel able to string all nine together. It is suggested that once you are comfortable with the finger positions that you take each cut one at a time and contemplate the meaning of that particular cut. The meaning will be different for each student. For instance the meaning of RIN for one student may mean being very strong and capable of executive decisions while for another it may be as simple as being physically well and having a positive attitude. As usual, I leave it to the reader to decide which is the better explanation. It is a good idea to use the breathing exercise mentioned on the meditation page when you practice the Kuji~in as without the correct breathing you will
not realise your full potential.
RIN STRENGTH OF MIND AND BODY At first this may appear to be physical strength and mental intellect but maybe we can think of this as being physically well and having a positive outlook. Middle fingers extended, others interlocked
KYO DIRECTION OF ENERGY To begin this may seem to refer to directing your energies into work but later it could be that you see it as a way of directing your internal energy to increase your inner power. Index fingers and thumbs extended, middle fingers curled over index fingers. Others interlocked
TOH HARMONY WITH THE UNIVERSE This can work on many levels from learning to live in peace with mankind and the animal kingdom to being at one with yourself. Last two fingers extended to form a V (tips touching). Thumbs extended, others interlocked
SHA HEALING OF SELF AND OTHERS The ability to heel is more powerful than the ability to kill.When you sense your inner power you will no longer succumb to viruses and other ailments.A word to those that would use their powers to harm others "It is easy to kill a man, but could you watch one die?" Index fingers and thumbs extended, others interlocked
KAI PREMONITION OF DANGER If this cut is fully achieved you may find that you can feel the emotions of others (even at a distance) which can aid in knowing how others will react in a given situation. All fingers interlocked
JIN KNOWING THOUGHTS OF OTHERS
Kusari Fundo By Hatsumi Sensei Translated by Masaru Hirai The kusari-fundo is a short length of chain with a steel weight attached to one or both ends. However, there are many variations on this theme. Each school of ninjutsu has its own name for the unique weapon: tamagusari or manrikzgusari, for example. The size, shape and weight of the fundo (weight) usually varies according to each school. The kusari (chain) has its different size and thickness as well. There are also various theories about the origin of the kusari-fundo. 1) Some argue that leather straps or ropes employed in stonethrowing techniques were replaced with newly invented chains. 2) Some say that it has its origin in the ninja's shinobinawa no jutsu (rope techniques). 3) Others insist it was invented for the "police" in feudal days to arrest criminals. It is difficult to say which, if any, is well-founded because there remains very little literature on the kusari-fundo which was handed down from generation to generation as a secret weapon. But let me try to find a clue to its historical background out of the existing literature. There is a kind of kusari-fundo called the konpi (kon means "iron", pi means "to fly"). According to a historical document the konpi was put into use as a weapon in the era of the Yoshino Court (around 1350 A.D.). As the times changed, so did the konpi. At one time it was converted into the weapon konpei. At other times individually devised kusarifundo were made, including gekigan,.tundogusari, sodegusari, tarnagusari, manrikigusari and kanarnari, each of which was developed into a certain art of its own. Naturally the names of these arts survived their founders. Among those that are on historical Fccord are: Togakureryu, Gyokushinryu, Masakiryu, Hoenryu, Syuchinryu, Kinshinryu, etc.
Click on these for full size images
The Konpei The Konpi The konpei has a hollow Once a chain and bullet handle which allows the with an Iron hand or some chain to run through freely. device at the end of the
The Kusari-Fundo The length of the kusarifundo is usually between 1.5 and 3 feet. Some
chain was said to be It also has the fundo schools, of course, use combined for use as the (weight) at one end of the shorter or longer ones. konpi. As a weapon, a rope chain and the kakushi (a ring Those with round shaped or stick was attached to the with sharp iron horns, also fundo are often called called kakude) at the other. end of the chain. tamagusari or gakikan, Kaku means horn, te or de while the ones with means hand, shi means rectangular shapes are finger. Wearing the kakushi called fundo-kusari. on your finger and grasping the handle, you capture your attacker by throwing the fundo and entangling him in the kusari, then striking his vital area with the kakushi.
We can rely on a certain historical record as the origin of the tamagusari: Nearly 300 years ago, at the time of the Genruku era, there lived in Oogaki, Mino (which was the fief of the Toda clan and was situated northeast of Kyoto) a master swordsman called Masakitarodayu Danno- shintoshimitsu (Masaki Toshimitsu for short) who held licenses of both Seniryu Halberd and Kotoda Ittoryu. One day Masaki Toshimitsu stood guard at the Ootemon Gate of Edo (present-day Tokyo) Castle under orders of his lord Toda. He thought that, should he be confronted by ruffians in front of the gate and was obliged to kill them with his sword, the gate would bt defiled with bloodshed. This should not happen under any circumstances. (In those days blood was considered to be filthy.) What should he do then? How about borrowing a long wooden stick from an ashigaru, a samurai of the lowest rank on guard, to fight the ruffians with? His pride would not allow him to do this, however. So, Masaki went on thinking. Finally he hit upon a capital idea which would enable him to confront, without bloodshed, the ruffians or madmen who might rush the gate wielding their swords. That was the weapon "kusari-fundo" or, in this case, the tamagusari. It is said that Masaki worked out 24 arts of the tamagusari. Later, hearing the rumor that the tamagusari, a treasured weighted chain of Masakiryu, could protect one from evil, many people visited Masaki's home asking him to give them one. But Masaki gave his tamagusari to only a few select people, warning even them that wrong use of the weapon would be of little good service. As was the case with any weapon, the samurai didn't want them to be used for the wrong purposes. They used to offer their weapons on the altar, pledging to use them for the purpose of saving others or protecting themselves.
3/
2/
1/
4/
5/
6/
7/ As an attacker throws a punch, Hatsumi grabs the attacking hand and strikes the offending wrist with the hand-held fundo (1). As a second strike is thrown, Hatsumi releases the chain over the incoming arm (2). Hatsumi then guides the attacker's right hand over his left, sandwiching the chain between them (3). He now pulls both ends of the fundo taut (4), trapping and unbalancing the attacker (5). (Note: A koppjutsu bone breaking technique can easily be applied here.) Quickly moving under the attacker's arms, Hatsumi braces the left arm on his left shoulder (6). From here he can apply a shoulder throw or this variation - pulling the arms down ,in front of him (7) driving the attacker to the ground.
One other story about Masaki Toshimitsu I think you might be interested in, although it does not involve the kusari-fundo: Masaki was extremely skilled in cutting down large pine trees with a long sword or large axe (ono or masakari in Japanese) and taijutsu as well. One day a sumo wrestler named Ayakawa came to his home demanding he have a strength contest with him. This would be a competition between sumo wrestling and taijutsu. Ayakawa, a man of muscle, lifted Masaki into his arms with ease and made ready to throw him down. However, he was also concerned about being struck at his vital parts the moment he would fling him away. Unable to find the right opportunity, and becoming exhausted from his efforts, Ayakawa was obliged to put his opponent down. A little while later, however, he made another attempt to lift Masaki with might and main, but to no end. He could not move him an inch. It was as if Masaki's legs had taken root in the ground. Completely exhausted, Ayakawa admitted his defeat and became Masaki's pupil at once. Meanwhile, seemingly making use of the art of kusari-fundo, ninja practiced their shinobi tenugui no jutsu (one of the ninjutsu techniques of employing a short towel as a weapon) by wrapping a stone into the end, the three-quarter mark or the center of
the towel. The ninja carried this weapon by wearing it around his waist or concealing it inside his kimono. Incidentally, it is said that this kusari-fundo is called sangiri in India. I hope the following specially prepared photographs and instructions will be of good service to your training.
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Learn to walk before you run ! An article by Hatsumi Sensei. This is another article from Hatsumi Sensei.All I can say is that I wish I could do the things included in this article. We tried Shinden Fudo Ryu Ukemi the other day and I failed miserably. LOL. Never mind this is for the more acrobatic bugeisha amongst us. Before discussing further techniques, I would like to point out that when one decides to study ninjutsu one must also realise that the true study involves many, many aspects, including tradition and history. It is not enough to concentrate on just the physical techniques or the weapons. There are so many misconceptions about the ninja; especially in the West where they are characterised in sensational movies, television shows and books as little more than a ruthless assassins and spies for hire. They are portrayed as black clad magicians with supernatural powers who can appear and disappear at will; who can swim like fish or fly like a bird; who can walk on water or predict the future. There are, of course, those ninja who can execute their craft so well that they give an appearance of being able to perform these super human feats; but appearances, as you must know, can be deceiving. Ninpo is a science, not black magic. As for the ninja have being depicted as mere mercenaries, this is an unfortunate magnification of isolated cases. Certainly there were "rogue" ninja, as there were rogue samurai or sailors or anyone who went awry of the code of justice they had sworn to. But these were minor compared to the whole. Those of you who have read my book, Ninjutsu: History and Tradition, will probably recall that portion dealing with this aspect. Rather than seeing themselves as mercenaries or thugs, the ninja "considered themselves to be merely practitioners of political, religious and military strategies that were cultural opposites of the conventional outlooks of the times. Ninjutsu developed as a highly illegal counter culture to the ruling samurai elite, and for this reason alone,
the origins of the art were shrouded by centuries of mystery, concealment and deliberate confusion of history." The history of the Ninpo, in fact, is marked by a strong code of moral and just behaviour that applies not only to the fighting or military aspects, to the everyday life of the ninja. And learning to attain sei shin (or right mind) is essential to becoming a ninja. Some facets of the moral code are: · Loyalty, bravery and trustworthiness. · He must be fair minded; exposed to the different ways of thinking and the customs of different types of people · He must also be a man of virtue and commitment, willing to defend justice without selflessness and without fear of death. · He must not engage in petty arguments or have double standards. Then there is the understanding of the spirit of Budo, the samurai, the perfect gentleman-kind hearted, understanding and devoted to his training. Being called a ninja is a great honour, like being called a great samurai. One who seeks peace and enlightenment, not violence.
The flying bird also tumbles Hicho kaiten is a very special, secret technique with many variations. In real life birds not only fly, they land and walk and run in particular ways. So,too, must the ninja learn not only to jump and elevated himself, but how to land from various heights in various positions; how to "blanket" his fallen opponent or to elude the night stalking swordbearer and his cohorts. This is just one of the countless reasons why the study of nature is all important when learning ninjutsu.
Conditioned reflexes
To be able to perform the many twisting, turning leaps and rolls, the student must be certain to condition himself, to exercise and stretch properly. Flexibility of the hip joint is an absolute essential to ensure mobility. Good, supple muscle tone and resilience are key factors for avoiding injury. At times the ninja out must elevate quickly without warning, or dive headlong that the ground, or sideways out of the swords slashing path; always the the ninja must have the presence of mind to act with control and understanding of the situation so that shuriken, blinding powder or a handful of dirt can be brought to into instant play as an added measure of defence. So you see, there is no "magic" in being a ninja. There is, instead, quite a lot of hard, intelligent work involved.
1/ Hatsumi Sensei stands composed while being held by two would be assailants 2/ he then quickly and unexpectedly drops straight down 3/ and backward, breaking their hold while at the same time grasping they're wrist. 4/ From this basic position, Hatsumi Sensei can to either side, striking his opponents at the neck or head. 5/ or, if Hatsumi Sensei prefers, he can continue his backward roll 6/ maintaining his wrist holds to force them into submission
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Ninjutsu Water Training
Ninjutsu Water Training The Wave of the Future? By Robert Bussey On a winter day many years ago, my brother and I attempted some martial arts Ninja were known to use their sparring on a frozen lake near our parents' resort home in Nebraska. In those unique water-fighting skills in days, we both held black belts in Korean fighting forms. Determined to kick my older brother in the noggin, I threw a roundhouse kick while pivoting on or around the lakes, ponds, moats, fields and streams that my base leg. Needless to say, I ended up bruising both my funny bone and my came in to Play during battle. pride. For the typical martial artist, frustration sets in when it becomes impossible to execute an attack or defense move. Sometimes, your inability is caused by an opponent's superior ability; and other times it can be linked to specific terrain or circumstance. Regardless of the reasons, a true warrior must find ways to overcome obstacles in a direct confrontation. While working out at my academies. Practitioners from other styles have exhibited difficulty in moving on floor mats. "I am used to working on carpet," they explain. Other martial artists, however, are right at home when training on mats. But the ninja must be equally prepared for battle among a variety of locations - mats, concrete, dirt, jagged rocks or even water. A ninja's cleverness in responding to any situation is based on his skills of adaptability. Students of the Nebraska ninjutsu system are taught to develop abilities in combat that will enable them to turn potentially dangerous situations to their advantage. To survive in combat, the martial artist cannot rely solely on a set of fighting principles. The ninja must be able to respond without thought or hesitation, and utilize skill which is equal to or better than the enemy's. There is a time to use the feet, a time to apply joint manipulation, and a time to grapple. When fighting on ice, for example, it would be more pragmatic to feature various hand strikes, as well as elbows, knees, and grappling techniques. Kicks won't work as well because of the slippery surface. The ninja's physical arsenal must be wide enough to give him total body/terrain unification. The same holds true whether he's fighting among trees, on a city bus or in a large body of water. During the summer, it is not uncommon to teach training techniques in the Midwest's bountiful lakes. The practitioner is taught to realize the vast capabilities and alternatives available to him as a water warrior. Some of the key study areas include: above and below surface traveling, under- water tube breathing, conditioning (for health and survival), water safety, invisibility, water purification (for drinking), and in water combat fighting. Traditionally, ninja were known to use their unique water-fighting skills in or around the lakes, ponds, moats, fields, and streams that came into play in Japanese battles fought between the 12th and 17th centuries. Swamp and other water confrontation scenarios also were integral parts of World War II, the Korean War and, of course, the Vietnam War. Although the later examples made use of more sophisticated weaponry, there were many hand-to-hand water-fighting examples, especially among elite troops and escaping prisoners of war. One cannot hope to teach a student the ins and outs of every combat situation. A ninjutsu instructor, however, can guide the student toward general circumstances of self-defense, and then allow him to grow in file:///C|/Documents and Settings/Uli/My Documents/My eBooks/Martial Arts/Martial Arts - Ninjutsu Water Training.htm (1 of 3)12/1/2004 8:10:30 AM
Ninjutsu Water Training
his ability to respond naturally. When called upon, his knowledge can be put to the test. In mastering the art of water fighting, a on a new approach to combat. Unless his weapons (in most cases the arms and legs) are above the surface of the water, many of the typical kick/punch/ throw techniques are less effective. In waist level water, for example, all of the upper body tools, with the exception of mobility, will work well. It is when the ninja and his opponent get into chest-level water and above that special approaches need to be taken. Skin pinching, pressure-point control, and joint manipulation can become the best weapons for water fighting. In head-level water, the stronger individual usually swims to safety because a person's striking skills are neutralized. But by using the ninja methods of water fighting, even the smaller or weaker person can gain the upper hand. The prescription for self-defense in water fighting depends greatly on whether the warrior wants to: a) escape from his opponent(s); b) injure or maim his opponent(s); or c) kill his opponent(s). The decision, obviously, would vary greatly with each situation. But in all cases, choice "c" or death would be a last resort. Escaping from an opponent's grip while in the water requires the use of body twists, pressure points, thrusts, or joint locks. Against a throat choke, for example, the ninja might squeeze the skin on each side of the enemy's rib cage and then follow with a push-kick against his stomach. After breaking free, the defender can either flee or take advantage of his enemy's incapacitation. When attempting to escape the grip of an opponent, it is often more practical for the ninja to allow his head to go under the surface. By taking a deep breath (fill the lower stomach first), the ninja can better position himself and actually gain power by balling up during the execution of his technique. By pinching nerves or applying pressure to the sensitive areas of an opponent's body, the ninja can temporarily stun or paralyze his foe long enough to stop the intended attack. There are six basic target points just on the neck. Other primary targets can be found on the hands, forearms, face, chest and legs. Pressurepoint techniques are very painful. However, once the pressure has been removed, the pain will quickly leave. To incapacitate an enemy, the warrior must rely on more aggressive tactics of personal defense such as joint manipulation. By gaining control of an enemy's joints, the ninja can easily: pin or lock out his enemy's joint; dislocate his enemy's joints; or break his opponent's joints or bones. The five key areas for dislocation and breaking in water fighting are: the fingers, wrist, elbow, shoulder and knee. Through an understanding of ninjutsu's joint-lock techniques, the warrior can control and/or injure his enemy. The primary effective striking techniques used in the water are those of the short-range variety. Because of the resistance offered in the water against full-extension strikes, it is much more practical to apply four basic weapons. They are: the head (for butting, biting, and spitting); the elbows (for horizontal and vertical strikes); the knees (to drive into the groin, thighs, face); and the instep (used mainly for groin attacks). Techniques such as scratching the face and body, eye poking and the pulling of hair will help defeat the opponent. Specific techniques used to drown the opponent will not be discussed for obvious reasons. There are skills using pressure points, strikes, and chokes that are practiced in various dojo (training halls) at the more advanced levels. A strike to the solar plexus during a deep-water fight can result in drowning. By using a particular pressure point with a thumb, one is actually capable of holding the opponent under water. In waist-level water, all of the upper body tools, with the exception of mot bility, will work well.
In ankle- or knee-deep water, virtually all weapons, including kicks, will be effective.
If you decide to practice any water combat skills, it is best to have someone around who is certified in lifesaving training. I say this for a good reason. One evening during a routine water-training exercise, I had a large group of ninja students practicing various tactics. I ran into complications during the exercise and almost drowned. No matter how basic or advanced the
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Ninjutsu Water Training
techniques, play it safe. In ankle- or knee-deep water, virtually all weapons (kicking or otherwise) will be effective. Remember that a wet uniform will be heavier when you are out of the water. Also, flying sand, mud or dirt can easily get into your eyes (as well as your enemy's). Remember to be natural and relaxed. Panic and fear are not water soluble. About the Author: Robert Bussey is a ninjutsu instructor in Fremont, Nebraska. He also is a student of Masauki Hatsumi.
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Sensei's Online Journal Masaaki Hatsumi - Gambatte - Keep Going! Forget sadness, anger, grudges and hatred. Let them pass like smoke caught in a breeze. You should not deviate from the path of righteousness; you should lead a life worthy of a man. Do not be possessed by greed, luxury, or your ego. You should accept sorrows, sadness and hatred as they are, and consider them a chance for trial given to you by the powers...a blessing given by nature. Have both your mind and your time fully engaged in budo, and have your mind deeply set on bujutsu.
Master of Masters
(I know there are many errors contained here. I have not corrected them, instead article as it was published....Merlyn)
It is with much respect and admiration that we welcome the literary philosophical contributions of Dr. Masaaki Hatsumi to our magazin Dr. Hatsumi, as many of you know by now, is the 34th Soke (Grand Togakureryu ninjutsu, the title having been passed down to him fro master, the late Toshitsugu Takamatsu, 33rd Soke. What many peop aware of, however, is that the venerable Takamatsu also bequeathed student the authority and position of headmaster in seven other mar
• • • • • • • •
14th Soke of Kumogakure ryu ninpo (originally founded by Heinaizaemon Ienaga Iga (a.k.a. Kum Hoshi) 17th Soke of Takagi yoshin ryu jutaijutsu, originally founded by Oriuemon Shigenobu Takagi 18th Soke of Gikan ryu koppojutsu, originally founded by Sonyu Hangan Gikanbo, lord of Kawac 18th Soke of Koto ryu koppojutsu, originally founded by Sandayu Momochi 26th Soke of Shinden fudo ryu dakentaijutsu, originally founded by Izumo Kanja Yoshiteru 28th Soke of Kukishin ryu happo hikenjustu, originally founded by Izumo Kanja Yoshiteru 28th Soke of Gyokko ryu koshijutsu, originally founded by Hakuunsai Tozawa. Togakure ryu ninjutsu, by the way, was originally founded by Daisuke Togakure.
Titles alone, of course, do not describe the man entirely, and only barely touch upon the universal approach to life that he so eloquently embodies. A deeper insight may be had by reading his own preface in his widely?acclaimed book, NINJUTSU: HISTORY AND TRADITION (Unique Publications). Soke Hatsumi states: I believe that ninpo, the higher order of ninjutsu, should be offered to the world as a guiding influence for all martial artists. The physical and spiritual survival methods eventually immortalized by Japan's ninja were in fact one of the sources of Japanese martial arts. Without complete and total training in all aspects of the combative arts, today's martial artist can not hope to progress any further than, mere proficiency in the limited set of muscular skills that make up his or her training system. Personal enlightenment can only come about through total immersion in the martial tradition as a way of living.
By experiencing the confrontation of danger, the transcendence of fear or injury or death, and a working of individual personal powers and limitations, the practitioner of ninjutsu can gain strength and invincib permit enjoyment of the flowers moving in the wind, appreciation of the love of others, and contentment w presence of peace in society. The attainment of this enlightenment is characterized by the development of kokoro, or "benevolent heart". Stronger than love itself, the benevolent heart is capable of encompassing constitutes universal justice and all that finds expression in the unfolding of the universal scheme. Born o insight attained from repeated exposure to the very brink between life and death, ninpo's benevolent hear to finding harmony and understanding in the realms of the spiritual and natural material worlds. After so many generations of obscurity in the' shadowy recesses of history, the life philosophy of the ninja once again emerging, because once again, it is the time in human destiny in which ninpo is needed. May prevail so that mankind may continue to grow arid evolve into the next great plateau.
So many testimonials have been written about Dr. Hatsumi that, portion of them would entail the addition of countless pages to th or warrant a special edition devoted to that subject alone. Barring enterprise for the moment, we can happily accommodate the wor Yoshiteru Otani. Learning that his friend and teacher for 25 years embarking on a series of articles for Ninja Magazine, Mr. Otani, Jigen-Ryu, Founder and President of New York Iaikai acknowled
"In the martial arts history of Japan, we have produced only a ha major grandmasters. . . " citing Ueshiba Morihei Sensei of Aikid Mikune Kyuzo Sensei, 10th Dan of Judo, as two from the moder "Standing with them," Mr. Otani asserts, "is Hatsumi Sensei, a re his time, a modern ninja without equal."
"His dedication to the art of ninjutsu and his devotion to his prof chiropractic doctor creates an example of a man who has harmo and spirit." Mr. Otani considers him " . . . not only the greatest martial artist alive, he is also a master of kindness and spirit. During my 45 years of study in martial arts and 30 years as a teacher, I have not met a man like him in any country. I know that by reading his artitles your readers will learn by his instruction and be inspired by his spirit. " We, the editors, have no doubt that that will be the case. Dr. Masaaki Hatsumi is a treasure of information whose wealth can be shared by all. In this, the first of what we hope will be many articles, Dr. Hatsumi briefly discusses his reasons for speaking to us from Japan, his birthplace and current residence. The worldwide ninja movement is upon us. Because of this, many people have decided to call themselves' "ninja". Many (others) claim to know what ninjutsu is. Under these circumstances I must explain the reason for my taking up a pen to write about this art.
Today, the pen is stronger than the sword. I am living in the modern world, so as the only true ninja alive must fight with my pen, not my sword, to introduce this 900 year old tradition of ninpo to those who are t interested in the ancient art of the ninja.
The introduction of the ninja movement in the West, as I see it, is~moving in the wrong direction. Why? ninjutsu was originally taught in a secret manner, and this secrecy was kept and observed for many years. was not exposed. (Yet), those who never learned ninpo, those who just read books, for example, started to even though they had very wrong conceptions. It is therefore often thought that ninjutsu is used for assass and other evil purposes, and that those who practice it live in a `dark world'. Too many people believe tha what a ninja is because that is the way it is being introduced.
Being a real ninja means living a good life, a life under the sun - a special place in the sun; to love people understand nature and animals, and to love the universe. This type of love I speak of must have a kind of it: It is not only give and take, it is also give and return. The mind of a ninja is a mind of mercy, a mind o a state of mind that must be kept in order to live a straight, moral life.
Looking for the meaning of life, one man can discover the order of the universe. To discover the truth, to higher spiritual state, that is the true meaning of ninja..
NINJA HACHIMON: 1. 2. 3. 4. 5. 6. 7. 8.
NINJA NO KIAI: (This involves an explosive expression of spirit and energy to others and to one NINJA NO TAIJUTSU:(Involves the study and practice of body techniques.) NINJA NO KEMPO: (This is the study of sword techniques.) NINJA NO SOOJUTSU: (This is the study of methods volving the spear or lance.) NINJA NO SHURIKEN: (This is the art of throwing knives, darts and star?shaped weapons.) NINJA NO KAJUTSU: (Involves the use of fire.) NINJA NO UGEI: (This is the art of deception and disguises.) NINJA NO KYOMON: (This is the study of religion, philosophy, meditation, history, mathematic chemistry, physics and psychology.
Since ancient times, study of the arts and sciences were as important to martial arts as the study of self de techniques. Ninja no kyomon, the study of all aspects of religion, medicine, mathematics and other discip necessary, for correct judgment and selfunderstanding. This has been a simple introduction to Hachimon, the basics of ninpo. In the following issues, I will go in detail concerning this very special martial art and way of life: What we call ninjutsu.
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Metsubushi - to crush the eyes I have included an article written by Hatsumi Sensei for NINJA magazine from Dec 1986. I have included it as it makes excellent reading in a subject, which perhaps, is not taught as much as it should be. Personally, the only time I have ever used metsubushi (powders) was at a demo and, boy, was that fun!!! (also very messy)
In the course of carrying out his secret mission, the ninja took great care to see that he was wellarmed for any encounter that threatened to prevent his success or thwart his escape if he (or she) was discovered or faced with possible capture, more often than not the agent was probably outnumbered by the enemy.In order to "equalize" the odds, the ninja had to develop a method that would provide him with time, even if it was only a fleeting moment, so that he could bring into play other ninjutsu techniques that would ensure his safety. Under such conditions was the unique art of metsubushi created The technique of metsubushi (sight removers) involves a very wide range of eye blinders, not just powder-like substances thrown at attackers, dirt, mud, gravel, sand, pebbles, stones, ashes, ground pepper, nettle hairs, oil, water, poison liquids, smoke and explosives are just some of the many ingredients that may be used. Equally wideranging and diverse are the containers which these sight removers were carried in: hollowed-out egg shells, nut shells, handheld cannons (sodezatu), bamboo guns (dokadeppo poison gun), scabbards, loaded shuriken and so forth. One particularly interesting and ornate container is called the sokutoku. Often worn around the neck like a decorative pendant, it would not arouse undue suspicion; but in an instant it could be a most effective means of subduing an enemy with a single breath. The hollowed device is usually filled with ground pepperthen plugged with a pencil-thin stopper attached to a thin line. When attacked the ninja merely brought the sokutoku to his mouth, removed the plug and blew hard into the mouthpiece. A cloud of hot pepper would then spew forth into the assailant's eyes. During the relatively peaceful Tokugawa period in Japan this device was often used by "police" forces to subdue lawless citizens because its contents would not permanently damage their eyes, yet was more than enough to stop them in their tracks. The object of metsubushi is to make the attacker hesitate, to "take away his sight" however briefly. And in that brief momentwhich to the accomplished ninja is more than sufficient time-the ninja has the option of counterattacking or escaping. The latter option often created or reinforced the legendary "mystical" abilities of the ninja to " disappear" .
The metsubushi techniques can be found in taijutsu (emptyhand defense), goton no jutsu (five ways of escape and concealment) of Moku, Ka, Do, Kin and Sui (Wood, Fire, Earth, Metal and Water), the TenChi-Jin sanjupo no jutsu (thirty methods of Heaven, Earth and Man) and other ways of taking advantage of sight or weak points of attackers. These would include methods of head-butting your opponent, poking your finger or snapping a towel in his eyes, or the use of neko te iron claws. Even reflecting the sunlight off a drawn sword blade into the enemy's eyes is a part of this. Metsubushi can be thrown in many ways: 1/ forward with the palm up, 2/ forward with the palm down,3/ backward with the palm up,4/ backward with the palm down. 5/ Spraying an area with metsubushi is achieved with an arcing motion of the hand.
The word metsubushi (literally to crush the eyes) brings to mind a technique requiring the practitioner to take the enemy's eyes right out of his head and crush them. Actually, such a technique does exist in ninpo's taijutsu.One night, my teacher, Mr. Toshitsugu Takamatsu, told me this story about such a technique: "When I was in Shanghai many years ago, word was out that a big man had been hovering around the wharves robbing the passersby. People in the area were so scared by his presence that they completely avoided that area. Full of youth, I immediately made up my mind to subjugate this big highwayman. I lost no time in heading for the place where the mugger would most likely make his appearance. Soon after my arrival, he appeared--and how big he was! His being as big as a professional wrestler, I tried to keep out of his way as much as possible, but the narrow street made the confrontation inevitable. With his arms stretched out, he stood in my way and demanded money. Immediately after my response of, 'I've got no money to give you, ' I saw his hammerlike fists thrusting at me. I dodged his attack skillfully, but this seemed to further infuriate him and suddenly he was jumping at me. I flung him down with gyakutenage (reverse hand throw) so powerfully that he hit the ground with a resounding "Yipe!" It was then that I noticed that there was something warm in my hand. Somehow, during the short struggle, one of he man's eyes had been plucked from his head I applied the art of resuscitation and he soon came to his senses, but the discovery of his lost eye had him crawling away on his hands and knees. I later sent him a bill for 20 yen for doctor's services rendered." When putting taijutsu into practice, the ninja may sometimes unconsciously grab a vital area of his opponent's body. This sort of natural reaction is common in the martial arts, making them different from a sport or game with rules. Here is another story my teacher told me: "One night when I was having an uneasy sleep in my room, I suddenly sensed someone watching for a chance to attack me. Making use of ankoku-toshi-jutsu~ one of the ninja techniques of seeing through the darkness, I recognized some silhouettes with long swords and large dogs against the moonlight. Without a moment's delay, I made a mock figure of a man lying in futon bed by utilizing kettles and books and then hid myself in the dark corner of the room. Then I heard something being broken. No sooner had the burglars broken into the room than they began to assault the mock figure repeatedly with their long swords. There was no response, however, except the clashing of kettles against their long swords, which surprised them very
much. Then, yelling at the burglars, I got up and snatched a long sword from one of them and began dropping them one by one. Just after knocking down five of the burglars, I was jumped from behind by one of their big, growling dogs. It kept on growling with its paws on my back. When dogs are growling, one must be cautious. Under such a situation, one mustn't move an inch. I tried rivaling the dog with grim determination. Ha-ha! When dogs are about to attack a person, it is no good for him to stir. When the dog seemed to be fed up with competing with me mentally, it suddenly stopped growling. Taking advantage of this occasion, I struck it on the muzzle with shito-ken (thumb strike) and gave it a heavy kick. With a few sharp yelps, it was knocked down flat on the ground." This is also a story of metsubushi in that striking the dog on the muzzle caused tears to run out of its eyes and made it dizzy. It includes a mixture of several other ninjutsu techniques such as kintonjutsu (metal hiding technique) of using kettles, koei-no-jutsu (shadow technique) of hiding oneself in the shade, jinton-no-jutsu (man hiding technique) of using futon to make a mock figure of a man.Metsubushi is generally known as one of the techniques in which ninja physically fling blinding powders into the faces of their attackers. However, there are other techniques beyond just blinding your attacker's eyes. As a Japanese proverb says, "the eyes are the windows of the mind;" to cloud the mind can be another important way of blinding the eyes. I would like you to know that it is the core of the metsubushi techniques to make the eye stop working.
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Sensei's Online Journal Momochi Sandayu "Ninjutsu is not something which should be used for personal desires. It is something which should be used when no other choice is available, for the sake of one's country, for the sake of one's lord, or to escape personal danger. If one deliberately uses it for the sake of personal desires, the techniques will indeed fail totally."
My Six Years with Hatsumi Sensei as told by Doron Navon to Ilan Gattegno Like a true ninja, he remains a complex and intriguing enigma to most of the world, even to us who know him personally. While many of his students bathe openly in the limelight, Dr. Masaaki Hatsumi, 34th Grandmaster of Togakureryu ninjutsu, stays quietly in the shadows. It is his choice. He is a man of subtle, yet great substance who frequently prefers to observe from a distance. When asked to describe Hatsumi Sensei, his students, his friends, even his wife all give differing versions of this multi-faceted diamonds There is, however, one aspect on which they all agree: They all call - him "Sensei" . And he is called that with much love and reverence. Very few people have been fortunate enough to spend much personal time with Hatsumi Sensei; and of those, even fewer are able to really get to know him. But one who did manage a deeper glimpse into the man is Doron Navon, Hatsumi's first Israeli student, who trained with him for six years and became more like a son to him than just a student. Theirs is a very special relationship that has grown and flourished for nearly 20 years now. Navon currently holds a 6th Dan ranking issued by Hatsumi Sensei, the highest ever achieved by a nonJapanese in the system. In 1974 Davon returned home to found the Bujinkan Dojo of Israel. Said to be the only non-Japanese homonoshidoshi (true teacher), Navon speaks reverently of his own true teacher. "Sensei is a very special person, " he says. "He's very harmonious, intricately engaged with the flow of Nature. Yet his infectious vitality dominates the big organization behind him. "Usually he starts his day as a regular person, " Navon smiles, "taking care of his patients as hone tzugi (orthopedic doctor), but the afternoons and evenings know him as the ultimate master of ninjutsu. It's not a case of Dr. Jekyll and Mr. Hyde," Navon asserts, "rather, a natural transformation from one phase to another, done with logical extension and in
complete harmony with himself and his surroundings. " Even his neighbors in Noda City don't really know who he is or what he does. They know he's engaged to some extent with the ancient fighting arts, and they see many visitors come and go, but they're never quite sure what these activities mean. They have become resigned to accept the fact that he is someone who will never be completely revealed to them. Hatsumi Sensei prefers it that way. He lives a very modest life, conducting himself in a quiet, conservative manner, choosing not to exhibit the enormous martial powers he possesses. Hatsumi's-orthopedic clinic is situated on the street-level front of his house. A small room at the back used to be his private dojo, but is now rarely used as such. It serves more as a room for martial arts memorabilia with its framed pictures, drawings and documents adorning the walls. Hatsumi Sensei has an extensive collection of swords, many of which were actually used to kill-not by Sensei, however! Interestingly enough, many people turn their backs on swords that were instrumental in the deaths of others, fearing they might bring bad luck; so they give them to Hatsumi Sensei. . . "who is not touched by the evil spirit," says Doron Navon. Hatsumi Sensei is the kind of man to whom many people gravitate, bringing him all manner of gifts. Following a long-standing Japanese custom, he always has an ample amount of gifts to give in return to whomever happens to just "drop in". Add to this assortment of friends and acquaintances a menagerie of pets-including an alligator, two iguanas, many Persian and Siamese cats, and two ol' hound dogs he takes for a walk every night-and you get the picture of a very happy, stable homebody. "There is usually at least one of his students around hoping to see to anything Sensei might need," Navon says. "And then, there is always his very special student who seldom leaves his side-Marikosan, his wife, whom he affectionately calls oksan (which translates literally to "his wife"). As wife and loved one she helps him with his orthopedic patients; as student and teacher she is the ultimate kunoichi (woman ninja), practicing her art faithfully, determinedly. She holds the rank of shidoshi and has many times joined the senior students in demonstrations. The students are always the 'victims'- and they have said many times with affection and admiration that they
would much rather have any of the other women ninja partipating since Mariko-san executes the techniques with all her heart and ability- which means that the students experience quite a few aches and pains as a result of her enthusiasm! "She is an extremely lovable person," says Navon. "She is a major hone tzagi at Meiji University where, incidentally, she first met Hatsumi Sensei." She recalls that in the beginning, Hatsumi did not show any outward interest in her; instead, he confided in her about all his romances with other women. But that may have been his ninja way of getting around the issue, for one day he straightforwardly asked her to marry himand she did. Mariko-san is very much into Japanese culture, and occasionally teaches Japanese dancing. Hatsumi himself becomes a student whenever she assumes the role of teacher. But for all her interest and activities in tradition, she is not like many Japanese women. For one thing, she is actively independent. In younger days she was anchorperson on a Japanese television station. Energetic and resourceful, her style is very much influenced by America and other western couhtries. She is also an excellent cook. Hatsumi Sensei is especially careful when it comes to food, yet diplomatic. As a guest in someone's house he'll eat pretty much whatever is served, but in his own home he prefers whole rice, fruits and vegetables-in that order. He avoids foods that contain too much salt or sugar, and adheres to the philosophy that one should consume only about 70 percent of one's capacity. He never leaves the table with a completely full stomach. When he was young, like other Japanese youngsters - (indeed, like young people the world over) -he drank a lot. Now, however, he rarely touches alcoholic beverages. He stopped drinking after an incident in which he nearly killed four of his best friends. One night, after a losing battle with several bottles, and when he was very drunk, his friends brought him home. At the door, however, he refused to go in. They didn't feel like staying out the whole night, and so decided to force him in. It was almost a fatal decision, for it undoubtedly awakened the ninja in him. In a blinding flash, Hatsumi Sensei lashed out with a continuous series of strikes and throws that eventually left them all sprawled on the ground, each with two broken ribs as a painful memento. When he sobered up the next morning and learned what fury he had wrought, Hatsumi vowed never again to drink to excess. Such a situation among friends, fraught with such potential danger was not to be taken lightly. He had learned a lesson, fortunately not a terribly expensive one, but he had learned it well-and
it has not happened again The incident is looked back on with some humor, however, by his friends. One, Moromachi-san, still recalls that night at the hospital, and is only too happy to remove his shirt and show off the broken rib that did not heal properly. Ribs may have been broken, but not the friendship. In fact, it was bonded permanently that night. Hatsumi Sensei has many friends, some from his school days and some who studied with him under Takamatsu Sensei, 33rd soke. Though some dropped out of ninjutsu, perhaps because they could not cope with the rigid disciplines involved or because Takamatsu seemed to devote more time to his special student, Hatsumi, they nonetheless remain true brothers under the skin. Hatsumi Sensei evokes that kind of loyalty in people. As a direct student of Takamatsu, Hatsumi is a specialist, not only in ninjutsu, but many other martial arts as well. Recently he was declared a "National Treasure" by the Japanese Cultural Agency; an honor that recognizes his intellectual and practical expertise as a master of his special craft and assures, through subsidization, his continuing efforts in the study and instruction of a historical way of life that should not die. And yet, Hat sumi Sensei stresses that he is not Japanese by nature. Rather, he says, "I am a man of no country. " His nature and behavior is inter national. He does not regard a per son's color or origin; he sees him, instead, as a human being. When he broke the ninjutsu seal of secrecy in the mid-60's, he welcomed all who were interested and accepted those who persevered, including non-Japanese. He taught the basics of stickfighting to Quintin Chambers of the United Kingdom and accepted two Israeli students in the early stages of his teaching. Many foreigners studied with him, some for only a few months and, unlike many other martial arts teachers in Japan then, they were all treated with the utmost respect-as were the Japanse students. "Hatsumi Sensei is very dynamic when he teaches," says Doron Navon, one of those two Israeli students. "He switches from one technique to another with lightning speed and, when asked to show it a second time, always comes up with an exciting variation. You never really see the same thing twice. His execution of a technique is virtually perfectand uniquely appropriate to the situation. When he wants to be deadly, he's deadly; when humor is called for, he laughs outright; and when theatricality is the required ingredient, he is without a doubt the best actor around. Hatsumi Sensei can be hard or soft at different times and hard and soft at the same time. He is supremely able and uncommonly flexible. In his expert hands a "victim" often feels like a helpless five-year-old trying to
resist a stern parent. He attacks weak points and pain centers with deadly accuracy, and adjusts to change with amazing swiftness and variety. His moves just seem to get better as the years go by." Hatsumi rarely teaches now in his own dojo, prefering to visit the dojos of his senior students. He's like a patient, supportive, approving father to them. "Teaching should come from the heart," he says, quoting his own illustrious teacher, Takamatsu. Though his students differ in many ways from one another, that same ingenuous "openness" is evidenced in their attitude and behavior; yet each develops in his own way and at his own rate of speed. His instruction always causes just a little consternation among his pupils because, although the techniques are demonstrated clearly, leaving no doubt about their efficacy in a given situation, the students experience difficulty when attempting to execute them the same way. Hatsumi Sensei makes it look so easy that they labor under the false impression that they can perform the techniques with equal ease, precision and skill. It becomes frustrating when they rudely discover they cannot . . . at least not yet. But the good ones stay with it, learning not only the beauty of the true art, but the true mastery of their own teacher. After training sessions, Hatsumi likes to wax philosophical about the deeper aspects of the martial arts. Very much aware of what's happening in the world today, he manages to live in accord, if not always approval. He looks at life with a view derived from an the power behind and within himself; the power of a master of many trades. His one true tie is his connection with God. Hatsumi Sensei believes in one God; he calls it "The God of Budo", but it's the same God that most of us worship. His love of the martial arts is the center of his life, a life that provides him with all the energy and balance needed to deal with his many involvements. He has a quick, keen mind capable of switching from one subject to an other with in-depth association at high speeds. One has to really know him well to be able to keep up with him. One thing you cannot do is take him for granted. Hatsumi Sensei's appearance is dangerously misleading. His gentle smile, open face and medium build hide a veritable deathtrap for the unwary. His delicate hands are as strong as iron, his fingers as capable as claws, and his body compact and powerful. But even more incredible, he has an instinct for danger, an intuition that prepares him for what's ahead, and an insight that practically enables him to " read" the people he talks to. This may sound like fantasy, but to those who know him, it's real. They come to him to drink from the "well that never dries", and he is always there to slake their thirst. It's one reason why even those who do not study with him directly call him "Sensei".
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Naginata Do Yesterday and Today Once an efficient method of wreaking havoc on an enemy, naginata do now is resigned to self?mastery, exercise and sport applications. By H.L. Kurland How many traditional weapons of Japan and China can you name? One of the most commonly forgotten weapons is the Naginata, a Japanese glaive or halberd, which is the counterpart to the Chinese kwon do. Like the kwon do, the naginata was once a popular and important weapon of the sohei (warrior monks) and bushi (soldiers). Today it is rarely practiced outside Japan. Bodyguard to Yoshitsune of the Minamoto clan, the monk known as Benki brandished his naginata as he stood before his adversaries. In the 13th century epic. The Tales of Heiki, Benki laments: "By the center I firmly grasp My great naginata which 1 have loved so long, I lay it across my shoulder, Then with leisurely steps, I stride forward, Be he devil or demon, how can he stand against me? So completely, do I trust in my own skill. Oh, how I long an adversary worthy of my hand!" The naginata was a major weapon in old Japan, competing in popularity with the yari ( thrusting spear). The skilled warrior needed to be well?versed in swordsmanship before learning the skills of the naginata. As the saying goes, "know your enemy," and the
weapon opposing the naginata in most cases was the sword. Situations arose where the warrior needed to use all his weapons. In the Tales of Heiki, the role of naginata?jutsu was described in one altercation where Benki stages a legendary battle: "Initially Benki shot twenty?four arrows, killing 12 and wounding 11 men. Then grasping his naginata, he skillfully sliced, chopped, and slashed six more men He broke the shaft on the sixth opponent so he drew his sword, wielding it in the zigzag style, interlacing cross, reverse dragon fly, water wheel, and eight sides at once steles to cut down eight more men. He snapped his blade on the helmet of the ninth and used his dirk to continue..." After all the fighting was over he withdrew with only minor wounds. Such was his prowess. Employed by both monk and soldier naginata?jutsu or the art of the halberd, was an effective and efficient method of wreaking havoc on an enemy. The effective warrior used the most efficient weapon to get the job done. Today, naginata do is considered a method of self?mastery, exercise and popular sport. A naginata has a long oval shaft and a swordlike blade at the end. It differs from the yari in that the naginata is used primarily to cut, chop, slash and thrust in graceful arcs, while the yari is primarily a thrusting weapon. Both weapons' shafts and hilts can also be used similarly. Each has its boosters. A master swordsman could take on a warrior wielding a yari with a greater confidence of victory than if he were armed with a naginata. The yari, light and versatile in the open, is less effective in crowded conditions, on horseback, or against horsemen. The naginata, however, was superb against horsemen or foot soldiers. The main advantage a naginata?ka has over a swordsman is the length of the weapon. It can clear a large area quickly of enemy swordsmen while keeping them away. Used effectively in bamboo forests and wooded areas, it was said, the naginata could cut through three inches of bamboo timber and still dispatch an opponent. In close quarters one could choke up on the blade and use it effectively. Whether or not it would be as effective as a jo or butterfly knives at close quarters or in a crowded area, is debatable. Nonetheless, the naginata is a powerful and efficient weapon against the sword or spear, in addition to being one of the most graceful and fluid of the Japanese weapons because of its circular applications. Like the spear and sword, it was a popular weapon of feudal Japan's monks and soldiers. History The naginata evolved into a practical and common weapon by A.D. 1100 and was effective against both mounted and standing enemies. Its origin is vague, but there are three popular theories. One holds the weapon evolved about 300 B.C. from a similar looking agricultural implement. The tool was originally made of stone, which was
later replaced by metal. A more practical theory holds that an innovative warrior attached his sword to a pole, which resulted in a crude naginata. The last theory says the influx of Chinese immigrants and other contact with China brought the Chinese glaive or kwon do to Japan. The Japanese then modified it to their own aesthetic tastes, technology, and theoretical applications. Description and Anatomy The foundation for the naginata is a long, hardwood, oval?sectioned shaft, with a ridged blade mounted on one end. There were a variety of designs based upon the preference of the user. There were differences in length of the blade and tang, shape of the blade and length of the shaft. One offshoot, the nagamaki, had a relatively longer blade and a shorter shaft, with a blade length as long as seven feet but usually averaging between three and four feet. The nagamaki shaft usually was shorter than the standard, at around four feet, giving a total length of roughly seven feet. The nagamaki was sometimes likened to the naginata, but was a favorite of horsemen who used a graceful figure?eight slashing pattern to cut down foot soldiers. Unlike today's standard design, there were many popular versions in feudal Japan. The sohei, like the benki, used a powerful weapon of tremendous proportion called the shobuzukuri?naginata, featuring a blade length of over four feet and shafts of seven feet or longer. The type used to repel the Mongol invasion (1274?1281) was over 12 feet long and made famous by Saito Musashi?bo benki. The blade length was four feet, eight inches and the shaft was seven feet, six inches. Legends of extraordinary skill with the shobuzukurinaginata remained strong for many centuries. One sohei, Gochim?no?Tajima, was nicknamed "Tajima the arrow cutter" for opposing Heike warriors who fired arrows from every direction. Tajima ducked to avoid the high shots, leaped over the low shots, and with his whirling naginata cut through the arrows that flew straight for him. Variety not only came in the length but also in the shape of the blade. Some blades were straight while others had slight curves, _ extreme curves, or double edges. The shape evolved over the centuries. From the 14th to the 16th century the blade shortened to adapt to heavy fighting. Today's naginata evolved during this period, with the ha (blade) averaging one to two feet in length, and the hardwood shaft ranging from five to nine feet long. The blade gracefully sweeps from tang to tip, curving upward from the upper third of the blade. Like its cousin the sword, it is sharpened only on one side. The blade has from one to four hi (blood grooves), which also gives it structural strength. The rukago (tang) can be as long as the blade. As knife afficianados know, the tang gives strength and balance to the weapon by reinforcing the shaft and offsetting the weight of the blade. At the base of the blade is the tsuba (handguard), and is usually one to four inches in diameter. Similar to the sword tsuba, it is used to hook, parry, block other weapons and keep them from sliding down the shaft. This allows the forward hand to slide up under the tsuba and perform various techniques while being protected from an enemy blade. On the shaft beneath the tsuba are usually decorative or protective coverings. Materials used to decorate the shaft include brocade, mother of pearl, sting ray, silver, copper and iron. Direct cuts to the shaft are to be avoided.
The laquered hardwood shaft is usually colored black, gold, or persimmon. At the end is an ishizuki (iron pommel), which is used for striking and counterbalancing the blade. The total weight of a real naginata depended on its composition and length. The warrior needed great strength, stamina and coordination to use it effectively, for it was one of the most difficult weapons to master. The blade was kept in a decorated scabbard. A protective bag covered the scabbard and decorated areas. The bag was usually secured by a himo (cord) and tied with a hanamasubi (flower knot). When not in use, it was stored in a horizontal position to prevent warping. Women's Entrance into Naginata jutsu The 16th century sohei were said to favor the naginata and nagamaki, but manv famous bushi used them as well. During the Muromachi period (1393-1573), 425 ryu (traditions) of naginatajutsu evolved. Originally it was a man's weapon since it was quite heavy and took a great deal of strength and stamina to use. But in modern times it is thought of as a woman's weapon. Japanese women did not always fit the subservient role of today's women.
During the Kamakura period women trained in bujutsu and were expected to show the same martial spirit as men. Legends arose of women who became feared warriors such as Itagaki and Tamoe Gozen. These women warriors went beyond the role of defending the home or self. Tamoe Gozen of the Minimoto clan "feared neither man nor devil" and was said to be a match for 100 warriors. A fearless horsewoman and master of the naginata, she used circular slashes and strikes (hence her name) to dispatch her enemies while guiding her horse with her legs. Itagaki, who threw fear into the hearts of her enemies, was a famous commander of 3,000 warriors of the Torizakayama Castle. She fought against the Hojo Regime (1199), which wanted to subjugate the Taira clan. Itagaki led her warriors into the thick of battle, guided her warhorse with her knees and cut the enemy with a deadly circular slash pattern of her naginata. It was said when the dead were counted, her kills outnumbered all others. During the Tokugawa period (1603-1868), the naginata gradually became a woman's domain. From the 17th century, young daughters of samurai families were given halberds with golden lacquered handles. When they were married, the women would take their naginatas with them. Sporting matches between women were recorded during this time. Even though women trained in naginata jutsu since Heian times, it was in this time frame the naginata became primarily a woman's weapon. Today, little has changed. Probably the most important reason for the decline of the naginata as a weapon of war was the influx of Western weapons to Japan. Bows, swords, yaris and naginata fared poorly against rifles, cannons and pistols. While rising to a position of esteem from the 12th?17th century, modem weapons brought on the demise of the naginata and led to its evolution as a sport. Displaying a last glint of feudal martial spirit, 500 women volunteers armed with naginatas were among the revolutionaries who opposed modern weapons during the 1877 Satsuma rebellion, one of Japan's last civil wars. The art of the naginata was lost because of governmental bans on the use of weapons in 1876 (Meiji 1868-1912). The practice of naginata jutsu was outlawed along with the other martial arts after World War II. After the ban was lifted with the departure of the occupation forces,
naginata practice resumed in the do (philosophical) rather than jutsu (fighting) form. In 1968 there were over 10,000 naginata?ka in Japan. Only about 10 were men. Instead of practicing the jutsu form, where combat realism and battlefield application were a priority, the majority of practitioners follow the do form, where the emphasis is on the mastery of oneself on one hand and enjoyment of sport on the other. Originally tied to the National Kendo organization, it was organized under the All Japan Naginata Federation in 1955. The United States also has a naginata federation. In the United States, naginata is probably one of the rarest of arts. It has been primarily promoted by the Southern California branch of the United States Naginata Federation (USNF) under the watchful eyes of Helen Nakano. Nakano, past president of the USNF and head instructor for the Gardena naginata dojo located in the Japanese Cultural Institute, has been promoting naginata as a way of selfmastery for the last 15 years. She routinely travels across the country to demonstrate and teach naginata's method and philosophy. Nakano originally learned naginatado in 1966 in Japan while traveling with her husband, George, who was on the United States Kendo team. There was a naginata demonstration and three instructors asked her to participate. At first she declined, but they were persistent and she found herself learning the basics under Chiyoko Tokunaga, Sachiko Wada and Yoko Yamao. After dressing her in the traditional dress, they had her perform the basic vertical head cut for about 90 minutes. After countless repetitions, she suddenly realized a change in perception. There was one cut she could feel was correct, and with it there came a wonderful exhilaration. "As I cut, my mind, body, and movement were united at one point ...(I) was completely lost in technique..." Nakano feels repetition is the key, for the essence of the art is to become one with the naginata, The student needs to extend through the naginata, and place one's feeling into the tip. The naginata has to become a living extension of one's body. Cathy Higashioka, an assistant instructor, feels the practice offers more than just exercise benefits. "Practice makes students more alert and aware of their environment. Practice increases one's concentration, develops agility, and self?confidence." Subtle personality changes take place from the concentration and practicing control over one's mind and body. The aim of the do form is to make one a stronger, more fully functioning person. Ideally the mind that concentrates well can reflect all things clearly. Kiai (spirit shout) is stressed during practice and is considered vital to the art. Kiai comes from the horror, the approximate center of gravity of the body when standing with feet together. It is used to unify the technique, bringing together the mind and the body. As with kendo kiai is used during competition to call the targets as the attack occurs. Another concept is stressed in naginata. Difficult to define, zanshin is a feeling, a projection of psychic dominance through one's opponent by the use of impeccable technique, alertness, concentration and extension of one's energy. This part of traditional budo is a relaxed extension of energy which can be felt by opponents. As Adachi Masahiro said in the Bushido Sosho, "The student's mind should be calm and undisturbed. . .eyes are not
glaring, fixed with the staring bulging eyes of the insane, a common mistake of some martial artists, but at the same time the energy is extended and one is ready, as was Benki, to face man, devil, or demon. Vigilant zanshin can intimidate a lessskilled opponent, allowing no opportunity for attack." As Higashioka comments, "This feeling is important during kata (forms) practice ...without it kata is nothing, but with it kata is electrifying." Zanshin is an essential part of all stages of naginata do, and kiai is fundamental to zanshin. The study of naginata?do includes training against the sword. In demonstration it is common to pit a kendoist against naginataka. In feudal Japan naginata against the sword was a matter of life and death; today it is sport. In these matches it is common to place man against woman, as most students of naginata are women and most kendoists are men. An example of such a match pitted a high ranking black belt man against a similarly ranked woman in a demonstration bout. The woman resembled any other mild mannered person in her 50s, but once the match started she demonstrated powerful zanshin, winning the match easily. Other matches yielded similar outcomes. Nakano was matched against a man who placed third in the All Japan Kendo Tournament. Commented Higashioka, "You could feel the energy flow back and forth between them, both displaying great spirit." In non?choreographed contests, with the quality of the unknown, random feints and attacks, the mind has to stay clear so that actions are appropriate. While some arousal and anxiety can actually help performance, too much fear or anxiety gets in the way of accuracy or proper technique. The overstressed reactions become rigid, the mind muddled and confused, and that prevents improvisation. The negativity associated with fear and anxiety is overcome by the proper practice of concentration and attention in choreographed forms and shiai. Modern Naginata Do The development of the naginata over the centuries has led to a weapon with little resemblance to the one of the 11 th century. Today, two variations of a training naginata are used. One is made of solid oak and resembles the real weapon in balance and proportion. The other has a blade length of about 20 inches and is made of split bamboo. It weighs about two pounds, which is lighter than the real weapon. The shaft is usually about 5.5 to 5.7 feet long, resulting in a total length of between 7 and 7.4 feet. The striking surface is flat and flexible. with the upper third being the proper area of contact. Modern Naginata Training The training session can be divided into four segments. After basic warm?up and stretching exercises, happo buri is practiced. Happo buri is a body exercise where the student goes through a series of vertical, horizontal and diagonal slashes, all which emphasize continuous flow. It is practiced without excess muscular force. The practitioner needs to relax the mind, body, and spirit; the use of too much force will counteract these effects, and may lead to injury. The second major part of the session involves practicing the basic techniques. Repetition of basics while walking across the dojo (training hall) with a partner, on a practice dummy, or on a hand?held baton is the key to learning. The third part of the session is the kata practice. A combination of old ryu and new forms. kata are prearranged forms where two students strike, block, and counter. The importance of kiwi, ranshin, distance and timing are emphasized. The student is progressively stressed to learn the nuances, subtleties and application of each technique.
The next level of training is shiai (combat). Bogu (protective armor) is donned and a kendolike competition is held. The bogu is essentially the same as kendo armor with the characteristic helmet and mask, the trunk protector, modified arm and finger coverings, and shin guards. The equipment only differs from kendo in the modification of the finger coverings and addition of the shin guards, which together with hip girdles may have been added to samurai armor because of the influence of the naginata. In naginata shiai, there are seven targets. The targets are attacked with the upper one?third of the blade or the tip. The target must be called with a specific kiai for the point to be valid. The targets are: • • • • • • • •
Shomen - Top of the head, called men. Sokumen - Temple, side of the head, called men. Do - Side of the trunk, called do. Kote - Wrist and forearm, called kote. Sune - Shin, called sune. Tsuki - Throat thrust with tip, called tsuki. Tsuki - Solar plexus thrust with tip, called tsuki. Not always given as a point.
About the author: A frequent contributor to Inside Kung Fu, H.L. Kurland is an Idaho based freelance writer and martial artist.
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Sword Drawing and Slashing By Masaaki Hatsumi Sensei Translated by Mr. Masaru Hirai Before imparting to his pupils the training of the ninja's iai sword drawing techniques, the master gave them a warning to this effect: You must never draw your sword against an attacker except when your life is at stake or you are going to protect something more important than your life. This warning is a good lesson for the ninja today as well. For those of you who have little knowledge of the ninja's iai, we will begin with some basics; for those of you who are already versed in this ancient art, a brief refresher course will not be too much to bear. As a matter of fact, going back to basics will help to ensure good, sound technique and a right attitude. The ninja ken (shinobigatana) or short sword, had a short, single-edged blade that was particularly useful for close-quarter combat. Compact and easy to carry, it also allowed for quick, silent movement down narrow passageways or through tight crawl spaces. Though it could not compare with the samurai's longer, razor-sharp katana in terms of elegant looks and superior craftsmanship, it nonetheless suited the ninja's needs perfectly. It was an extremely practical and versatile weapon. Certainly volumes could be written on the many unique uses of the ninja ken. However, for our immediate purposes we will concentrate on some of the primary drawing and striking techniques. The reader should bear in mind that the ninja sword fighting method is a total body endeavor. It is the body in motion not just the limbs that propels the ninja ken for effective cutting and stabbing. The following specially prepared photographs will illustrate these important points.
Starting from shizen-nokamae or natural posture
Hatsumi Sensei begins by placing his hand loosely on the scabbard
Releasing the sword from the scabbard with the second joint of his index finger
Hatsumi Sensei then steps forward with his right leg as his right hand loosely grips the hilt
As the sword is drawn, Hatsumi Sensei extends himself forward and loosens his shoulders
As the cut begins, The sword is drawn as if the position of the he were going to throw it knees and away shoulders play an important role in balance
Let s proceed to a variation, the technique of drawing the sword while taking sidesteps. You may move to the rhythm of tango music.
You move your left foot to Now this is the tango. You the right, crossing over take another step to the right your right leg. The way you with your right foot. loosen the swordguard is the same as before, with your forefinger.
Direct the sword to the heavens as if you were dancing with the sword.
While moving your right foot to the left, behind your left toot, you draw the sword. Please be careful not to slash immediately; it will draw you off balance. Act slowly, rightly and gracefully.
Strecthing yourself out, you swing down the sword into a thrusting posture.
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Drawing and sheathing the sword. By Hatsumi Sensei While the ninja did not regard their shinobigatana (short sword) with the same reverence the samurai gave their exquisitely forged katana, they nonetheless knew and greatly appreciated its incomparable value. It was an extremely versatile weapon/tool that often made the difference between escape and capture life and death. The saya scabbard was usually longer than the short blade, the extra space used to hide messages, blinding powders or explosives; the extra-long sageo scabbard cord could be used for any number or extracurricular activities, including tying up a captured enemy or as a trip wire across a doorway or forest path. And because it was short, the shinobigatana could be easily carried, especially in areas where the cunning ninja were most often to be found: in narrow corridors and alleyways, in tight crawl spaces, up among the tangle of branches of trees or down in a trough or a hollowed-out log. Also, because the blade was not honed as precisely as the supersharp katana, the ninja could not wield it in the same manner as the samurai; instead, he relied more on body weight in motion in order to execute effective cuts. The ninja made better use of his weapon with slamming stabs and thrusts and sawing dragged-edge cuts. In Part One I demonstrated for you the way of loosening the sword and then drawing it. If I am correct, most of you concentrated your attention entirely on the sword; perhaps some of you observed the body motion; I think very few of you noticed the feet. And so, in the following specially prepared photographs I have demonstrated the feet of the ninja in the iai sword drawing technique. After that I have instructed on different ways of carrying and drawing the sword from various positions. And then, in conclusion, I have demonstrated the proper way to sheathe the shinobigatana. After all, once a weapon has been drawn and served you well, it should be put away properly.
Please note that I am holding the sword guard tightly with the thumb of my left hand while keeping my right foot diagonally to the right, backward. This shows my determination not to draw the sword at random. However, I am obliged to draw the sword as I shift my body weight and my left foot diagonally backward in order to cripple the attacker's fighting power.
THE EIGHT WAYS OF FOOTWORK The iai sword drawing techniques require free movement of the feet. Now let me show you the shinobi iai happou sabaki (eight ways of footwork of the ninja iai) (1). Please watch the cross carefully. First you move your feet sideways. Take a step to the right by moving your left foot before your right one (2). Moving to the left you move your right foot before your left one (3). Moving your left foot diagonally to the left backward (4). Moving your right foot diagonally to the right backward (5). Moving straight forward (with the right foot because the ninja is right handed)(6). Moving diagonally to the right forward (7). Moving diagonally to the left forward (8).
2.
1.
5.
6.
SHEATHING THE SWORD
3.
7.
4.
8.
The safest way to return the sword to its scabbard is by gripping the mouth of the scabbard between the thumb and forefinger of your left hand and tilting it upward(1).Place the back or dull edge of the blade between your thumb and forefinger (BE SURE THE SHARP EDGE IS UP, AWAY FROM YOU!) so that it rests on the mouth of the scabbard (2). Pull the sword forward, applying the tip of the blade to the scabbard opening (3). BE SURE THE AREA BETWEEN THUMB AND FOREFINGER IS CLEAR OF THE OPENING, then slowly return the sword to its sheath (4).
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Ninjutsu's Living Legend by David Weis This is an article from Ninja magazine cira Nov 1986. It mostly covered events at the 1986 USA Ninja Summit. This is the article by David Weis who was editor of the magazine at the time.
It seems that nothing ignites the imagination of today's martial artists more than the art of ninjutsu; and no one person evokes more awe and respect from ninjutsu practitioners than Dr. Masaaki Hatsumi. It is hard for someone who has never met the Grandmaster to really appreciate what he stands for, and, more importantly, how he goes about representing the mysterious art he loves so much. I was a little taken aback with my first introduction to Dr. Hatsumi . . . actually quite unprepared to be met with such casual acceptance. Perhaps it was the awesome reputation that preceeded him or the strong aura he projects, but whatever the reason, I was pleasantly surprised at his a overt friendliness and informality. (I was told later that the Grandmaster is the easiest man in the world to get along with, and that the false image of the ninja as a "killer" is what brings about the hesitancy with which most people approach him.) Dr. Hatsumi is a very funny man . . . literally! He wisecracks, jokes, makes humorous analogies and relates hilarious anecdotes.He lives as he preaches, not taking anything too seriously. Even when teaching or demonstrating,. there is always a light, slightlyless- than-serious air about him. This is by no means to imply that he doesn't take his art seriously - he does - but he interjects bits of humor with his instruction to insure that his students have the best time they possibly can. The happiness of his pupils, you see, stands at the forefront of his priorities. As laughter subsides between jokes, one becomes acutely aware of the man as a technician. His taijutsu, kusari and hanbo techniques are performed with exceptional skill and confidence. Even though they are not performed at "combat speed" the observer instantly understands that the techniques work - and work well! I heard him say time and time again that he never thinks when he trains; he just does. To think about tactics or to plan a defense, he explains, is a hindrance to effective technique. You must know instinctively, through endless hours of practice, what to to when thrust into a combative situation. The Grandmaster also stressed that one should train through doing, not by perpetually trying to imitate one's sensei. Imitation is the sincerest form of flattery, perhaps, but it doesn't breed the ability to improvise that is so essential to the effective application of ninjutsu. In keeping with this unique philosophy Dr. Hatsumi demonstrates a technique once or twice then lets the students practice the move at their own pace. He doesn't go from group to group pointing out the idiosyncrasies and particulars of the
move, rather, he lets his pupils piece together the technique as they think they saw it. This method decreases student dependence and increases the individuality of the practitioner's interpretation of technique. When questioned about this manner of instruction the Grandmaster simply stated: "I'm a lousyteacher, do what you think you saw. " In this statement we know the opposite to be true. Perhaps the most outstanding feature of the Grandmaster - and one of the most infectious - is his outright happiness. He is quick to laugh, to joke and play, yet all the time stressing the importance of a good heart when practicing ninjutsu. By not approaching his art pedantically he insures-his own eternal pleasure with his participation in it - and at the same time urges it on others. Through his constant referral to play as a route to better leading and understanding ninjutsu, I slowly came to realize that it was more than just an avenue; it was an integral part of the art itself.
In a phone conversation just prior to the WORLD NINJA SUMMIT, Dr. Hatsumi projected his thoughts on the anxiously awaited event: "I am happy that my friend Dr. Higuchi and the Bujinkan Fellowship are hosting the WORLD NINJA SUMMIT. I look forward to helping him celebrate his first anniversary in America. Together we will train hard with ninjutsu people from all over the world. It is important to share our hearts and minds from time to time in order to gauge the extent of our journey toward selfperfection. The WORLD NINJA SUMMIT will give us all this opportunity. " At the event itself, amidst the many diverse activities taking place all around him, I asked the Grandmaster what his feelings were; what did he hope to see accomplished by this gathering of dans and representatives of other martial arts. DR. HATSUMI: I came here to make friends with everyone - with the people who practice ninjutsu. The people are very positive and nice. I want people to understand that I'm a nice person too. I don't want people to get the wrong idea about me or
ninjutsu. There are many different ranks among the students. I have come to pull all the students together. I see all this being accomplished here. (And with a broad smile he added:) All of us together, we can make a good NINJA magazine, yes? When the American people read what we do, it will be good for them. This is very important to me, and another reason why I am here. I don't travel for little things. NINJA: There are many people here who don't normally train together. Is everyone here that you"' like to see here? Is there anyone missing? HATSUMI: Everything here is perfect. No one is missing. (Actually there were several shidoshi who could not attend but, as we understand it, through letters and phone conversa tions they let Dr. Hatsumi know they were indeed there in spirit.) NINJA: Would you like to see events like this occur more often? Once a year? Twice a year? DR. HATSUMI: I would like to do this once a year. Let's drink together. Let's be happy together. . . I like these things even more than martial arts. I like to enjoy life. People who take the martial arts too seriously will die very young. I came here to help people live a little longer. For this I am a cute boy. NINJA: The principle of your philosophy, then, is to learn the martial arts by enjoying them. DR. HATSUMI: Exactly. NINJA: Where would you like to see ninjutsu in the United States in the next, say, two years. What would you like to see accomplished? DR.HATSUMI : The feelings here are already very nice, and I see even more favorable changes taking place. I see these favorable changes in your magazine and the people who read it. (And then he said with a laugh:) Maybe all the people who practice ninjutsu can all become famous and rich as a- result! (And in a split second he was serious again.) Because I am a writer, a doctor, a painter and live comfortably, I can speak with confidence when I say this. But, of course, you have to have the ability in ninjutsu. I'm not praising myself, but because I can do,I can be soft. And perhaps that ability to be soft is the best example of the immense strength Dr. Hatsumi possesses. Few people have struck me with such genuine charisma. I suspect he is much more than a master of a martial art. He is a master of life itself.
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Ninpo and Children by Hatsumi Sensei Translated by Thomas Checchi, under the supervision of Professor Yoshiteru Otani. I managed to save this article from a very sorry looking copy of 'Ninja' from October 1986. Not an awful lot of content, but interesting to read anyway. We have talked about many aspects of ninjutsu, including the use of disguises and the role of women. Some of you may be surprised to learn that young children may also play an important role in the world of ninpo, both as students and those who help in ninja strategy. Yotonojutsu is the technique or strategy of using small children in ninpo. One important aspect to remember in the teaching of ninpo to young people is that, as with any art, it is best to start at the youngest age possible; but one must be sure it is being conducted under the proper supervision. Then there is the use of children as a tool to broaden one's strategy. In ninpo, showing weakness,at first, puts one at an advantage, for then, when the opponent is overconfident and off guard, you can show your real strength and dominate him. In many ways this is the most important aspect of strategy . In the series of photos which follow, Miyuki Kinoshita and Hiroko Murakami seem like very unimposing figures: small, petite girls in traditional Japanese dress. With the problem of missing and abducted children a problem much more serious its the United States than inJapan, it is important to note that small children can learn very simple but effective techniques to protect themselves. Of course, throughout history there are cases of the use of young children by ninja to deceive and catch the enemy off guard, but there are also important aspects that can be used directly by the children themselves.
"A very important technique is illustrated here that should be noted by martial artists of all ages," says Dr. Hatsumi. Here, Miss Hiroko Murakami is the intended victim of a would-be kidnapper (1) As he grabs her bodily to carry her off, Hiroko raises her arms high and screams (2). "This in
itself is very important," Dr. Hatsumi instructs, "because the scream or kiai if done with great spirit, can startle or altogether frighten off the attacker." In the next photo (3) Dr. Hatsumi advises, "we see the girl employing a technique that is both very important to know and very dangerous; so it should only be used when you are in great danger. It is done by bringing the palms of both hands together with great force, slapping the ears of the attacker. It is essential," Dr. Hatsumi emphasizes, "that this is done on both ears at exactly the same moment. By doing so you break the man's eardrums and give him a concussion." Dr. Hatsumi again reminds the reader that this technique be used "only when absolutely necessary, and
that it be donf by someone who will perform it cor rectly the first time because, as witE most other techniques, you will no get a second chance. This technique involves precise timing." As the battered attacker releases her, Hiroko delivers a hard knee strike to his groin
(4). "But," as Dr. Hatsumi points out, "if the first technique is successful, the man will fall unconscious
(5) and she can walk safely away."
In this demonstration of kasa no jutsu, the ninja child is grabbed by the wrist from behind. The girl instinctively lowers her body and center of gravity, at the same time stomping hard on her attacker's left ankle. This effectively roots his lower body to the spot while his momentum and Miyuki's shift of body,weight pulls his upper body forward (1) Miyuki quickly turns, throwing the man by changing her center of gravity (2) Once down (3), Miyuki can then deliver any of several techniques, including raking the eyes with the opened umbrella tips
(4). or she can simply escape.
"The important elements in technique," Dr. Hatsumi states, "is that your first move is to open the body to the attack, moving in the same direction as the attacker so you can use his momentum and, how the ninja child lowers her center of gravity by changing her posture." As the attacker reaches to grab her neck, Miyuki takes a step back and swiftly removes a small piece of cloth that is part of her kimono (1) Holding it with both hands, she securely wraps it around his extended wrist and turns sharply in the direction of his thrust (2) Bracing his locked elbow over her shoulder and using his own momentum, Miyuki lowers her center of gravity (3)
and flips the man heavily to the ground (4)
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Ishizuka - one step from mastery by Ilan Gattegno I personally have not trained with Ishizuka Shihan, but have seen him many times on Hatsumi Sensei's videos
You can be easily fooled by his smile - a sincere one that, to some, might belie his stature. When you talk to the accountant of the firemen's squad in Noda City, Chiba Perfecture in Japan, you would never guess that this man is one of the mot highly ranked master teachers of Togakure Ryu ninjutsu in the world. If you asked him about his hobbies, he'd probably say that he is a singer and guitar player in an Hawaiian music band - hobbies one might not immediatly associate with a ninja master. Ranked a ninth dan, Shihan Tetsuji Ishizuka is only one step away from the top, but he doesn't necessarily see it that way."When you look at the world aroung you, ninjutsu is a very small part of it,"he say's."If you have this attitude you are certain to have the appropriate perspective to life in general, and to yourself." He was fiftenn years old when he started practicing Ninjutsu. Until then he was a student of judo, kendo, karate and shorinji-kenpo, enjoying all these arts very much. Once, during a training session, he received a serious shoulder injury and had to go for treatment. He was reffered to the local hone-tzugi (bone setter). This strange bone setter, Dr. Yoshiaki Hatsumi, lived in a house full of animals, most of them cats, that roamed freely - even into the doctors tiny clinic. Two caged iguna's stood silent sentry over the patients waiting their turns. While treating his shoulder, the doctor asked young Ishizuka if he wanted to practice something far stronger than the martial arts he was familiar with. "I felt I was strong, but I was also, I very curious to see what it was. I joined and soon found out that I wasn't strong at all. He beat me up in such a way that I had to go on and learn more. Not that I was a masochist, I just saw it as something real." Now, more than 25 years later,Ishizuka is one of Hatsumi's leading teachers. During Hatsumi's trip to the U.S.A. last year, he was at his side all the time-always there as the master's right hand. For years he's been referred to when foreigners call looking for Hatsumi sensei. Hatsumi just tells the stranger to call Ishizuka and gives them the phone number. There, Tetsuji and his wife, who both speak English quite well, can deal with the newcomer and get him started. Ishizuka finds it very natural to still be a student of the Grandmaster after so many years and that he hasn't opened his own seperate school. "Since this budb (old martial art) has virtually no end, it is always interesting. Sensei (Hatsumi) is very special and ninjutsu is very special. A teacher who runs out of teaching material is no good. To master ninjutsu you must devote at least 40 years, and even then you're not sure that
you know everything. Ninjutsu and Sensei are a great combination. After 25 years I still feel that the future is still ahead of me and it just makes me happy that I have much mom to learn. It gives a lot of interest to life. " The relativly long time that Ishizuka has been involved in ninjutsu, longer than most practitioners, enables him to give some advice to those who want to practice and achieve ninjutsu's higher levels. "I didn't have to learn ninjutsu to fight. But on the broader meaning, ninjutsu is very helpful in all aspects of life, come to think of it - in life, in self-control, in living without unnecessary effort, you have to experience. Without the experience there is no understanding and you can never reach the enlightenment. "
As a "foreign minister" of the Bujinkan Dojo, Ishizuka Shihan has a few words of comfort to the many non-Japanese who have been training in ninjutsu recently. "We treat everybody equally. We don't care about the country of origin, Japanese, American, Israeli, Swedish. If somebody is practicing seriously and enjoys it - that's what is important. If somebody wants to learn ninjutsu, he should seek a good teacher, a teacher with common sense and good judgment who has a good heart and has in him the three elements of ninjutsu: "shin " (heart), "gi"(technique)and "tai" (body). Those who are not sure which is the right way should go to Japan, see how we train at the main dojo and take example. Now some video tapes of Sensei are available, and also the master's articles in magazines give the spirit of his teaching. If you see the master move and you see a teacher following him you can tell who's connected to the source and who isn't. "Ninjutsu preaches to avoid fighting and to avoid the attack. This is one of the most important characteristics of the art. We practice so that these incidents won't happen, and if they ever occur there's no choice and we fight. But the aim is to prevent the fight, not to get into it." Since he started studying under Hatsumi Yoshiaki many things have changed in ninjutsu. Hatsumi was announced grandmaster and changed his name from Yoshiaki
to Masaaki for good luck in his new role. But ninjutsu didn't really change—it adapted to the changing world. The only big change is in the way of practicing. Once it was much more violent and demanded endurance, but now it's much softer and more gentle. But the way of thinking is still the same. "Hatsumi Sensei says to forget it all, to keep learning what he's teaching now. " Ishizuka sees his long tutelage under Hatsumi Sensei as a valuable experience. "Some of the things I've learned from Sensei twenty years ago were very difficult for me to understand, simply because I was too young then. But with the years came maturity and I've reached an understanding. It doesn't mean that now I understand everything. But life is there to practice. Theory is not enough, muri, as we call it inJapanese. I've learned to hang on when necessary, and to stop myself from doing things which might harm me. This is happening every day. I wouldn't do things I used to do before I became aware of ninpo (the higher level of ninjutsu). It doesn't seem to have a connection with the practice, but it is all linked. "One should also remember that it takes a long time to know ninjutsu and it isn't as simple as it looks. That's why there are so few people in the world who really know the art. In the Western world, only eighth dan Doron Navon from Israel has reached the understanding. He has spent enough time with Sensei, and his fluent Japanese enables him to communicate with us and learn everything. " There is only one step between Ishizuka Shihan and the mastery. But Techan, as Hatsumi still calls him with a lot of affection, is not looking fortdhe title. "I want to go on training in budo, and since I have so many students of my own, I must go on enjoying my time with them and develop together. Beyond that, there's nothing I can see that is going to change. Through Budo you can develop and become aware of things so you can enjoy life, so let's all enjoy it."
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Sensei's Online Journal Shinryu Masamitsu Toda 1. Know the wisdom of being patient during times of inactivity. 2. Choose the course of justice as the path of your life. 3. Do not allow your heart to be controlled by the demands of desire, pleasure, or dependence. 4. Sorrow, pain, and resentment are natural qualities to be found in life; therefore, work to cultivate an immovable spirit. 5. Hold in your heart the importance of respect for your seniors, and pursue the literary and martial arts with balanced determination.
Sensei's Online Journal Shinryuken Toda - Loyalty, Literary and Warrior Arts "Hold in your heart the importance of family loyalty and pursue the literary and warrior arts with balanced determination."
Shuriken Jutsu Shuriken are primarily weapons of distraction. To be thrown to escape or to cover other actions such as a sword draw. I have only included bo shuriken in this essay as I consider senban shuriken very easy to throw, needing considerably less skill than bo shuriken. But then again, as a weapon of distraction it is not important whether or not the shuriken sticks to it's target, just that the target tries to avoid being hit.
Perhaps the first thing that should be discussed, is the difference between Bo and Senban shuriken. Senban shuriken are flat piece's of steel, have four points and are square shaped. Bo shuriken are rods with one or both ends ending in points. Senban shuriken are very easily thrown by holding it in the palm of your hand with a finger on one edge. The shuriken is thrown by snapping the wrist forward. Bo shuriken is a little harder to throw. The shuriken should be gripped in the palm of the hand, upright, so it sits along side the middle and index finger. Start a short distance from the target and stand in Doko Ichimonji no Kamae, with the hand holding the shuriken well back behind your head. To throw the shuriken, push your palm toward the target, keeping your fingers upright.When the arm is straigh, the shuriken is released and flies straight toward the target without a rotation (short distance). This method is effective upto 8-10 feet. As you go further away from the target, you compensate by throwing the shuriken harder. It is important not to spin the shuriken at this point. Further distance's are acheived by placing the shuriken point down in the palm and allowing the shuriken to rotate 180 degrees (half a turn). The throwing method is the same. This may take some practice to get consistent. There are several methods to throwing bo shuriken. The way described above is the way usually demonstrated by Shihan in demo's in Japan. I have learned several other methods for throwing shuriken which are also very interesting. One such method was taught by Dave Heald (Judan Shihan) while at a course in Liphook, Guildford. It involved using San Shin no Kata as a throwing method and was linked to Kenjutsu, bringing us back to the subject that shuriken are a distraction tool. Here are the techniques studied that day.
Chi no Kata Tori is in Seigan no Kamae with daito drawn. Letting go with the right hand, thrust the daito into Uke's face while drawing the shuriken from obi at small of back.Perform Chi no Kata , releasing shuriken as though striking with san shitan ken.As the right hand swings forward the left hand draws the sword to the left and behind. After the shuriken is released, regrip the daito with the right hand and cut gyaku kesa giri (R-L).
Sui no Kata Tori is in Seigan no Kamae with daito drawn. Letting go with the right hand, thrust the daito into Uke's face while drawing the shuriken from obi at small of back.Perform Sui no Kata. As right hand extends to stike ura kitan ken, release the shuriken. As right hand throws, the left hand moves the sword out to the left. After the shuriken is thrown right hand regrips the daito and cuts with kesa giri (R-L)
Ka no Kata Tori is in Seigan no Kamae with daito drawn. Letting go with the right hand, thrust the daito into Uke's face while drawing the shuriken from obi at small of back.Perform Ka no Kata. Release shuriken instead of striking with omote kitan ken. As shuriken is thrown, left hand moves daito to the left side of you head. After shuriken is thrown, right hand regrips daito and cuts kesa giri (R-L).
Fu no Kata (The throwing techniques for this form was the style as described at the top of this page. ) Tori is in Seigan no Kamae with daito drawn. Letting go with the right hand, thrust the daito into Uke's face while drawing the shuriken from obi at small of back.Perform Fu no Kata. As the shuriken is being thrown the point of the daito was lowered to the floor. After throw the daito was regriped and tsuki at Uke.
Ku no Kata (Ku no Kata comprised of throwing mulitple shuriken with both right and left hands.) Tori is in Doko Ichimonji no Kamae, with shuriken in both hands. Throws multiple shuriken with right hand (any of the above methods), while stepping forward with the right foot, then throws the shuriken in the left hand ( any above method) while stepping with the left foot.
These techniques were a lot of fun to do. Don't get to hung up on making the shuriken
stick into the target. If uke flinches or tries to block the shuriken, then that's the opening your looking for to cut him down. Used in conjunction with metsubushi, shuriken can make an excellent tool for escape. (See Hatsumi Sensei's video Togakure Ryu Ninpo Taijutsu for an excellent example.
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Silent Stalker by Hatsumi Sensei This article is from Ninja magazine from December 1985. Very interesting.
In any martial art, including ninpo, the most important aspect is footwork; therefore I will discuss footwork and the background of certain techniques. Everyone dislikes the cold, including the ninja; so even in the summer ninja wear tabi, Japanese socks, to keep the feet warm. The feet are the key points of the body for retaining heat and health. In Oriental medicine, it is called zukan no kunetsu, meaning: " Keep the head cold and the feet warm". This is essential for staying in good health as well as curing illness. I, personally, will always wear tabi no matter how warm the weather. In order to increase strength and virility, the ninja massage their feet by holding the first three toes and rotating them. Even kunoichi (female ninja) practice this technique to ensure-good health of the whole body. It is particularly good for the liver; pancreas and the entire intestinal system. Part of the technique includes rubbing the bottoms of the feet to maintain good blood pressure and a balanced nervous system. Ninja will also train by walking on beans scattered on the ground; this helps massage pressure points as well as toughens the bottoms of the feet. More advanced ninja eventually learn to walk on tetsubishi (sharp-spiked caltrops) without injury; this is accomplished not only because the feet are toughened, but because the ninja has learned to walk with perfect balance and lightness, distributing his weight so that he barely touches the thorny caltrops.
Walking is an excellent exercise, and one can do it anywhere at anytime. When I walk my three dogs every day, I walk them briskly for three hours, making sure I take small, quick steps. It is a good lesson to learn, even on the street for, occasionally we will encounter a cat or something that will excite the dogs. However, since I am always walking properly, I am always in control; I am never pulled too fast or tripped by a tangled leash. Two years ago I held a ninja seminar in Daytona Ohio. Most of the American students I met there seemed to walk more like "Frankensteins" than martial artists. They found it extremely difficult practising the small, quick steps. Many of them felt I walked too quickly, but I explained that in Japan, the foot is considered the " second heart", and to have a strong heart means to have a strong mind. So, walking properly also develops the mind. Walking is the most important thing in one's life. Even classic Japanese No plays emphasise this. When this technique of walking is mastered, when one "walks like a ninja", one feels as though their feet never touch the ground. It is as though the ninja walks on air. In fact, one of my students, after observing the demonstration, said, "Sensei, your feet are not touching the ground. You seem to be floating in the air". Another student, a professional soldier whose nation was at war, told me that training of the legs (in his country) was essential; that even while in Japan he always climbed stairs, never took the elevator. When I heard this, I knew he was a good warrior. Walking is the basic body movement of martial arts. When you are learning the martial arts, be conscious of walking at all times; always train in the aspect of taijutsu (body techniques). It will leave little chance of your being attacked successfully. I know a professional gunfighter who wears gloves all the time. This is a type of thinking that is important to all martial arts: One should always be training and caring for one's self. Training is an everyday thing, just as walking is an everyday thing.
Side-walking (yoko aruki) ninja technique involves lowering ones center of gravity and stepping one foot over the other. It also requires a dance-like arm movement in order to maintain balance. When carrying a weapon, one walks according to the environment and one's relationship to it. It is important to practice side-walking in different environments. With a sword, especially at night, the sword can be drawn and the scabbard used to " feel" what lies ahead. Next is shizumi araki or low position walking; a technique especially useful in narrow areas. On a narrow path for example, a lower position is better, making you less visible to a potential attacker. Another low side-walking technique is called ninpo uzuru gakure. Mokuton means to hide in the trees; sooton - to hide in the grass; and sekiton - to hide in the rocks. These can all be developed once the basic walking technique is mastered. Whether the ninja walks alone or with others, he and they can progress undetected if everyone walks "correctly". The obvious advantage of walking in numbers while on a mission is that, when you are three ninja, you are six eyes, six ears and three noses, each focused in a different direction so that all areas are covered. In shoten no jutsu (going up to heaven), ninja practice walking up large plants placed at various angles, increasing the incline to as much as 80 to 85 degrees in order to master the art of walking and climbing in the forest. Training eventually advances to climbing plants or tree trunks situated at 90-degree angles. After reaching the top, the ninja then learn to tumble back down to their original position (kamae). Often, when carrying a sword, both sword and scabbard are used to maintain balance. Sidewalking is also used while up in the trees crossing from branch to branch. In koto ryu koppojutsu (which includes side steps and other body techniques), the ninja can easily move backward while facing forward simply by crossing one leg after the other. This is particularly useful when eluding an opponent's attack and positioning ones self for a counter attack. Ninja no shinobi kobashiri means running in small steps with the body leaning forward. In the night, while in the mountains, you can see the sky between the trees. This is your path. You must also use care when near the water or anything that might give off a reflection, lest you be detected. (Moonlight can be an enemy as well as an ally.) In Japan. the martial arts are not only "offensive orientated", but very defensive as well. The Japanese are basically agricultural land oriented people; and our martial arts have developed out of that tradition. I hope these illustrations of basic footwork and ninja body movement and techniques have been helpful to you. It is good to start from the ground up. It is important to have good feet on the ground.
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Spear and Naginata by Charles Daniel In Japanese mythology, a spear was used to help create the nation's islands from the chaos of the primeval world This myth suggests the importance and age of this archetype weapon Undoubtedly, the spear in the form of a sharpened stick or a stick with a rock on the end was one of the very first weapons used by man or his prehuman ancestors. In fact, along with the bow and gun, the spear easily ranks as one of the most important hand-held weapons ever created With such a long history, it is hardly surprising to find an extensive practice of sojutsu or spear art in ninpo. Also, the ease of making this weapon made it particularly appropriate for the historical ninja. In essence, the spear is designed to let one reach one's opponent while at the same time staying far enough away to remain untouched This reach was probably first used to keep out of an animal's teeth or claws while still being able to kill one's prey. Later, someone discovered just how well this principle could be applied to fighting other men even if one were not particularly hungry. Still later, this little discovery led to ruling classes, slave classes, etc., and entire social units based on control by weapons and power The discovery of copper, bronze, iron and steel brought the spear to its maturity. The spear would dominate man's battlefields for hundreds of years.
Spearmen often use a series of thrusts and cuts in a flow of techniques. Each of the individual movements have a meaning and should be understood. The most basic thrust used in ninpo is somewhat different from that used in most spear styles. In ninpo, the shaft of the spear does not slide through the hand.
Thus, from Chudan no Kamae,
This is followed by a body shift to withdraw the body, hands and spear.
shift the body with the front knee while the hands guide the point into place.
Of course the sliding thrust is also used. However, by beginning the the non-sliding thrust, the student learns the body movement into and from the attack.
It is not known exactly when the spear was first used in Japan. However, over the centuries, the Japanese spear took on a unique appearance and application. There are two major reasons for the unique qualities of these spears. First - since the Japanese never really developed the shield, they could use their spears two-handed in an underhanded fashion (back hand pushing the spear from lower than shoulder height). In other parts of the world, the spear was used one-handed in an over handed thrust so as to reach over the opponent's shield. A second reason Japanese spear use is unique is tied into the battle formations used. The Japanese formation was much looser than the formations used in Europe. This meant that each man had more freedom of movement to use his weapon. Also, since the Japanese saw war as a place to win glory through man-to-man fighting, their use of the spear was oriented toward the individual man instead of toward fighting in group formation. According to Dr. Hatsumi, the first spears used by the ninja were knives tied onto long poles. As time went by, the ninja spear took a form all its own. A short straight-bladed spear is used in basic training. This spear is approximately seven to eight feet in length and light in weight. In fact, it is much like a rokushaku bo with a blade attached to one end. Often a metal end piece is attached to the other end of the shaft. This contrasts with the samurai spear, which is generally longer (nine feet to eighteen feet) and heavier, thus suited only for thrusting and hitting According to Dr. Hatsumi, this combination of hitting and thrusting is necessary because a simple thrust is easy for an opponent to counter. The similarity between the rokushaku bo and the spear is another aspect of the technique overlap mentioned earlier. Technique overlapping is important in ninpo. That is, techniques learned with a bo apply to fighting with a spear and lessons learned with a hanbo would apply to both. Since the spear is mostly a battlefield weapon, and battles produce many broken weapons, the hanbo could be considered a broken spear. With a steel tip and a long reach, the spear is extremely lethal. Unlike a bo or club, which must land with a good amount of force to cause damage, a light tap from a spearhead can disable an opponent. In Japan, spears were generally as sharp as swords, and could be used to pierce armour. In training with a spear, a student must take several points into consideration. The reach advantage of a spear is obvious. However, this long reach has some disadvantages that may not be so apparent. For example, if one is standing in a narrow hallway, or worse yet, inside a boat, the spear's reach may actually get in the spearman's way. One solution is simply to break one's own spear under one's foot. Then one finds oneself armed with two half-spears (hanbo), which work very well in cramped quarters.
Because of it's blade type and design, the Japanese spear could deliver powerful cuts. here is an example of a basic cutting technique.
From Jodan no Kamae,
The body is then shifted the left hand releases the and the left hand grasps the spear while the right hand shaft to make the cut. rotates.
Another interesting problem for a spearman is what to do if someone gets hold of one's spear. This is one reason the ninja used such a bewildering combination of cuts and thrusts in their-spear method. It is common knowledge among most experienced weapons exponents that a thrust can be parried with very little force, while a cut is not so easy to deal with. This principle was often used by swordsmen to defeat spearmen. The swordsman would parry the spearman's thrust and then quickly grab the spear handle behind the spearhead. This would immobilize the spear just long enough for the swordsman to deliver a cut or thrust. If the spear was extremely long, then the swordsman could resort to a number of spear-breaking techniques. The spearman had a number of ways-to counter these tactics. The easiest method to deal with a grabbing technique-was to use unarmed spear disarms in reverse. Thus, when one's spear was grabbed, one simply retreated a step or otherwise avoided his opponent's sword while at the same time using a disarm technique. This technique was often used with kyojutsutenkan, when one actually encouraged his opponent to grab his spear and then took advantage of a weak point shown by his opponent. Despite all its advantages, the spear was not a weapon for everyone. Because of the amount of point control required to use the spear, the naginata was generally the weapon of first choice. The ninja modified the classical Japanese naginata to fit their own needs. According to Dr. Hatsumi, the ninja's naginata was a little smaller than normal and the tang (blade shaft) inside the handle was longer. This is a "pawn's" weapon, used by men expecting to see the most fighting and thus with little chance of surviving. While the naginata did not require the same degree and type of dexterity as a spear, it did have many advantages when used in formation on a battlefield. Whereas a spear thrust would generally strike down only one enemy at a time, a wide arching cut from a naginata could cut down two or three men with one blow. Contrary to popular belief, the naginata was not used in an unending series of spinning cuts. The historical use of the naginata more closely resembled the use of a long-handled sword. Because of its long handler the naginata could reach down to the opponent's legs or upward toward an enemy mounted on a horse. These actions could be done without exposing the weak points that would be revealed if the same were tried with a sword. The butt of the naginata's handle was used to parry and strike. The flat portion of the blade was also used.
While both the spear and naginata are bladed, it's important to know the proper use of the other end of the shaft.
In this example of naginata against sword,
,the end of the naginata blade is used to parry the sword cut to the head.
Then a circular motion is used to disarm the swords man
so he can be finished with a sweeping cut.
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Ninja Special - Ninja Weapons & Battle Strategy - Spring 1987
Taijutsu & Pistol Craft Not a lot of call for this in the UK, but still interesting. Words in italics and red are my comments In the ever-changing world of martial arts, weapons, costumes and styles seem to do a neverending dance to stay at the top. In the 50's it was judo, in the 60's it was karate and later the kung-fu explosion took place which was eventually followed by the current ninjutsu craze. Craze? Well yes. . . What would you call a fad that has been the basis for movies, novels and even toys. However, even here under all the flash and show that has surrounded ninjutsu, there is a form of martial art that has its own unique methods of dealing with some of the age-old problems of self defense. Weapons such as sticks, knives, Mace and even cords have been promoted by various writers and practitioners as "ultimate weapons for defense. " While all of these methods and tools can find a place within a person's defensive armor, none of them carry the deadly weight that guns do. Anyone who claims to be teaching self defense without taking guns into account not only looks a little strange, but is probably dealing with less than a full deck. Guns, in all their various forms, have not and will not go away. Of course, if one is practicing a type of martial art that is not necessarily meant to be for self defense, then guns are rather beside the point.
In Japanese sword technique, one often stays close to the ground. This technique is very useful at night when one can silhouette his opponent against the sky. From a kneeling posture (1), the swordsman rises and draws (2) to make a horizontal cut (3). The same motion and visual technique can be used at night with a handgun. From the same kneeling position (4), the handgunner draws (5) and fires as soon as his weapon points at the target (6).
The various non-gun (that is, non-self defense) arts make up an important segment of the giant subculture known as the martial arts. Arts such as judo, kendo and many styles of karate are intended for sporting contests, while tai-chi-chuan is normally practiced for its health benefits. InJapan, such arts as classical swordsmanship are practiced first and foremost as a link to that country's past. The purpose of any martial art must be clear before it is possible to say anything at all about the role played by such modern weapons as guns within that art. It should also be noted that just because a martial art does not take self defense as its central theme does not in any way devalue that art. The martial arts demand a balance of the concepts of "martial" and "art". This is one reason that, in many dojos, students are required to make an indepth study of the ideas and values of their school's (and its nation of origin's) history and culture. Not only does such study enlighten the student to the conditions under which the art developed, but it also helps balance the student's development as a person. It should be further noted that many of the seemingly strict rules that some schools have are not empty exercises devoid of meaning, but in fact are very rational methods of insuring the safety of all the people training in it. The entire subject of guns is surrounded by emotional extremes. On one side are the "ban all guns" people while on the other the "guns don't kill people, people do" contingent stands its ground. An objective view of guns is difficult to obtain and, like most serious subjects, there are just no simple answers . Many gun control advocates like to point out that in countries such as Japan and West Germany where guns are strictly controlled. the number of crimes involving firearms is very low. They seem to overlook, however, that guns were never widely available in thesc countries and the number of available units is extremely low. In America, guns have been a way of life for a long time and even if their production was halted this instant, there would still be untold number of guns (and reloading equipment, already in circulation and readily available. After taking these simple facts into account, gun control would seem to be as tall an order as balancing the Federal budget.)
The natural motion of sunshi no ski (typo ?? Sanshin no Kata/Chi no Kata) is used to throw an emppty hand strike. From a ready posture (1), the author steps forward and brings his right hand forward (2) as the other moves back into chamber.(3). The same motion can be used to train in instinctive shooting. With the pistol at his side(4), the author steps forward and brings up the pistol naturally(5) and makes the shot as soon as the hand points at the target(6).There is no pause to site the weapon.
If the author's rather quick discussion of the gun control controversy would seem to label him a gun advocate, then the other position should be examined first. The statement that "guns don't kill people. . . " is just as untrue and unrealistic as the "ban all guns" platform. Any police officer who has ever walked a beat will tell you that guns do, in fact, kill people. The problem with any type of gun, be it a low caliber handgun or a high powered rifle, is that there is no "less than full-power technique. For example: With a stick it is possible to convince someone to cease their assault without creating various and sundry leaks in their anatomy. It is very difficult, however. to "half-shoot" someone. Also. guns are very easy to use in this "heat of the moment, " or when the user is totally drugged or drunk. This has a lot to do with the reasoning behind the European knights and the Japanese samurais' hatred of firearms. Unlike swords, which generally kill exactly who they are supposed to, guns have a bad habit of killing anyone unlucky enough to be standing in the wrong place when the thing goes off. As far as the harmlessness of the gun is concerned, the number of killings involving firearms would seem to show that the gun is always the weapon of choice. Anyone claiming that murders would be committed with some other weapon if guns were not available seems to accept that thc ability to kill at close range with a knife or bare hands is natural to the human animal. If this were the case, then there would be no need to train military personnel in the skills of unarmed combat.
The point of the above statements is to emphasize just how difficult the entire gun question is to the martial artist. Probably the best thing one can do is to find their own position on the question and train accordingly . It should be realized, however, that some gun related skills will forever be beyond the abilities of many martial artists. Performing techniques that involve the disarming of a gun wielding attacker is equal in difficultly to disarming a skilled swordsman. These techniques are not impossible but are highly doubtful for the majority of martial artists.Working in a controlled atmosphere where a mistake is "okay" is one thingfacing the business end of a loaded gun is something entirely different. Attempting to disarm someone with a gun is something, most experts agree, that should be tried only if one is certain that they will be shot whether or not the attempt is made. In this case there is little to lose. If one tries a disarm when the gunman is unsure of his intentions, then he will help his assailant decide what to do (generally to start shooting) rather quickly. For the purposes of this article, we will not be discussing gun disarms, however, some things can be said about the approach to gun techniques and how these techniques relate to martial arts in general and unarmed techniques in particular.
Before even beginning to look at the relationship between guns and other elements of the martial arts, it is important to be clear on what any particular firearm is intended for. Handguns were designed to fill a very different need than rifles, and shotguns are best used for even different situations. In very general terms, handguns are best for close range use such as inside the home or under conditions which require that the firearm be carried concealed or " out of the way . " Evidence collected by a variety of agencies indicates that the majority of handgun firefights take place at a distance of under 21 feet. In the last few years, there has been a growing controversy over the relative stopping power of various handguns, and while much of this makes for some interesting reading (and some rather silly movies where the caliber of the hero's handgun is more the focus than the storyline), the whole issue has little to do with the martial artist. The major concern of anyone who trains with a handgun should be their skill at hitting the target, regardless of the type of weapon they are using. It should be noted that the people who profit most from the "stopping power" issue are the gun manufacturers. (Author's note: This is not unlike the martial arts supply business which needs a regular change in fashion to help keep themselves " in the black " .) In terms of training, most martial artists would probably be best advised to learn what is called " instinctive shooting", which involves being able to hit a target without taking the time to use the weapon's sights. This type of shooting is practiced by first shooting at targets set at very close ranges and then moving the targets back as the shooter develops skill and confidence. At close range with a handgun, there is rarely time to bother with sighting-this type of shooting is very similar in terms of body dynamics to throwing a punch or a knife. For training purposes a common BB air pistol can be used because, at the ranges in which a handgun is most likely to be used. the air pistol will shoot straight enough to polish one's skills without attracting the attention of the local authorities. Experience with live weapons is essential, however, as a shooter will need to become accustomed to noise and recoil. Shooting should be practiced in such a way as to incorporate as many different motions as possible rolling, dropping and even jumping should be practiced. Knowing the difference between cover (something one can hide behind without having to worry about getting shot through it) and concealment (which will hide you but provides no protection) is of little use if one is too slow to get behind the stuff.
In the realm of weapons such as shotguns and submachine guns, a few words should be said. Shotguns are probably best left to hunters or in the home as a defense against intruders. The idea that one can simply point one of these weapons in the general direction of their target and hit it every time is a myth founded on so many stupid movies Shotguns are dangerous at close quarters (What gun isn't) but they hardly deserve the reputation they have been given of being easily handled and wielded by all. For the average person, the recoil and noise of these weapons combined with the fact that they are unconcealable would eliminate them as a general purpose self defense weapon. The case of submachine guns is fairly simple to address.Most importantly, they are, by Federal law totally illegal for the private citizen to own. Now there are a number of readers who will say that the historical ninja had little regard for the law, but these individuals should remember that the historical ninja operated under conditions of war where the rule book is always the first thing to be thrown out the window. In today's world any writer claiming that ninjutsu practitioners don't have to follow the dictates of society should be locked away with the rest of the world's dangerously deranged. While it may be appealing to tell your friends about the great weapon you have at home that just happens to be illegal it is doubtful that this will be very impressive when you end up in a jail cell. Outside of hunting, rifles also have little to offer the martial artist These weapons have a much longer range than the other weapons mentioned in this article and is one reason why they are so closely associated with basic military training and not personal defense. As can be deduced from this article, the entire subject of guns is difficult to address when relating them to the martial arts The positive side is the firearm's ability to t make people "even" in term of strength. Also, guns donh get tired and are not effected by a person's health or age the way that martial arts skills can be on the negative side, a number of gun owners have been shot with their own weapons and innocents are sometimes killed by accidental discharges or simple bad aim.The answers to this difficult dilemma are as varied as the personalities addressing it, however, if one is determined to learn to use and carry a gun, then the best place to start would be at the local police station to learn about local laws and inquire as to where quality training can be obtained. If this is not possible and one still has an interest, then local hunting clubs or even the armed forces are places where such information can be found Firearms training is a martial art like any other but has an added lethal twist because there is no "half way technique", training should be approched with this in mind. The care that should be
exercised when training and practicing with guns can not be overemphasized and should never, never be taken lightly.Its one thing to hit a training partner with a stray punch where an "I'm Sorry' ' and a band-aid will suffice, but quite another when the punch is measured by caliber.
The throwing motion used to disperse blinding powder can also be used with a handgun. It should be noted that this technique is very useful wheb one has to approach and fire around a corner. From the ready position (1) the author snaps his arm out (2&3) sending the blinding powder, rocks or gravel to the target. Starting with the gun pointed upward next to the ear(4), the gun is brought downward(5) and brought in line with the target (6). In this case, both hands are used to aim the weapon with the left hand rising to meet the right as it points to the target.
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TAKAMATSU SENSEI SHIRUNI YORU RYUHAMENAI TO SONO JIDAI © copyright 2003-2004 Magokoro Media
Sensei's Online Journal Takamatsu Sensei on Banpen Fugyo No one possesses the knowledge concerning the events of tomorrow. This means that we do not know when our life will cease. However, you should not be surprised by any kind of happening. Whether a change in the divine process occurs, a cutting action is attempted by an opponent, or natural catastrophes take place, you should never feel such a thing as surprise. This is the spirit of Banpenfugyo. 'Banpen' means "change" and "Fugyo", "never surprised". What one should have in mind, first of all, is caring for one's own life; this is common sense. Health, both physical and spiritual, is needed in order to prevent accidents. Due to the impetuousness of the youth I made lots of errors until the age of forty. Now, every morning I massage myseIf using an ice cold towel and go with my dog for a walk. After that, I dedicate some time to painting and writing. Those who are evil minded will always do bad things. Even the bad intentioned ninja would be banished. This is applicable to any martial system.
Sensei's Online Journal Takamatsu Sensei Quotes... "Being natural is the ultimate secret of our art." "The true value of budo is to train the mind to see clearly and maintain spiritual strength." "For taijutsu, the flexibility of the legs is the most important factor, not the strength of the legs." "The way of the martial artist is the way of enduring, surviving and prevailing over all that would destroy him. More than delivering strikes and slashes, and deeper in significance than the simple outwitting of an enemy, Ninpô is the way of attaining that which we need while making the world a better place. The skill of the Ninja is the art of winning." "The heart of taijutsu is important and only through training will one polish that heart (like a gem) and understand true taijutsu." "Let him cut your skin, and you cut his flesh. Let him cut your flesh, and you cut his bones. Let him cut your bones, and you cut off his life"
Sensei's Online Journal Takamatsu Sensei's Artful Words These items below are taken from artwork by Takamatsu Toshitsugu. It was his idea to express his understanding of the martial arts through another art medium, and share it with the world: 1. "The ninja's body is to nurture one's mind and to train the body to endure to the end. One who can do this is a true ninja." 2. "How difficult is life when one is not surprised by anything and laughing everyday..."
Ninjutsu v's Terrorism This article from a 1986 issue ran with this unfortunate title. The article is very good, accompanied by some excellent photo's. I just wish we didn't have to put up with this kind of sensationalism. In the wake of recent terrorist attacks that took the lives of many innocent people and left scores of others wounded, it seems an appropriate time to discuss how the ancient science of ninpo can be useful in society today. With cowardly acts of this kind becoming more and more frequent the world over, it is important that all people, not only those who currently study the martial arts, understand how ninpo can be practically applied to make this world a safer, more peaceful community of free nations. Even though it is an ancient art, ninpo has many modern applications that the public at large and government officials as well should be aware of. Incidents like the seajacking of the luxury liner Achille Lauro and the brutal murder of Leon Klinghoffer, one of its passengers; the senseless slaughter of innocent bystanders at the Rome and Vienna airports ( to name just two of the more recent terrorist activities at this writing) will continue to grow worse in intensity, more widespread geographically and more prevalent unless something is done about it. A recent question-and-answer exchange with Dr. Masaaki Hatsumi, 34th grandmaster of Togakure ryu ninjutsu revealed similar sentiments on his part. Long a stalwart advocate of more widespread instruction in the psychological aspects of ninpo, Dr. Hatsumi was quick to clarify misconceptions many people have regarding ninja: their often linking the ninja with guerrilla-like attacks and bloody revolution; the erroneous labeling of them as hired assassins, cutthroats and cowards who sneak up on targets in the dead of night to kill, maim or mutilate. In some people's minds, unfortunately, ninja and terrorist seem to be one and the same. In a general give and take interveiw, Dr Hatsumi spoke of the problems facing the Ninja today, as well as the possibiltiy of their becoming of immense service to the governments of free nations in their war against terrorism. NINJA : How can training in ninjutsu help guard against terrorist attacks? DR. HATSUMI : It is of course a great pity and very sad that innocent unarmed people are being terrorized and killed by fanatics. This should not be happening; and there is much that can be done to prevent it. Too many people have the misconception that ninja were nothing more than hired assassins. For the most part, this is not true
at all. In the long and honorable history of ninpo, it was always warrior against warrior. True, there were surprise attacks, but always against other warriors. (There were never heinous attacks against civilians and innocents.) Today, as they did centuries ago, ninja live by a very strict moral code (which we have discussed in depth at other times). As a ninja, if I were someone who had a say in the operation of the CIA, or had some kind of role leading those who fight against terrorists, I would train people in the very same way ninja are trained. I would not only train the people on our side, but recruit people from the other (enemy's) side. For instance, recruit spies to infiltrate and gather information. Infiltration and information-gathering, utilizing disguises and psychological warfare were just as important to the ancient ninja as learning fighting techniques. Because with these methods you can win without fighting; you can win by knowing the enemy and out-smarting him. The ninja had - and still emphasize - training along these lines. An extremely important, yet often unknown part of ninpo is knowing the enemy. By knowing the enemy you know what he is capable of and what he probably will do; if you have gathered the right information, you know what he will or intends to do. Knowing that, you then have the means to stop him, to thwart or prevent his plans from being carried out. This is part of the science of ninpo. This is why we in ninjutsu teach psychology, history; why we insist the student learn as much as possible-about other cultures and not just fighting techniques. The practice of ninjutsu's weaponry, techniques and especially its philosophies could be instrumental in alleviating the world's terrorist threat, says Dr. Hatsumi. America and other free countries must also learn to fight with words - as the Russians do with their propaganda. (More times than you can imagine, it is better to fight with words than with swords.) I think we are far behind the Russians in this area. I think we are losing the fight in the area of psychological warfare. Ninjutsu is very much an art and a science; and instruction in it would be of immense value. Unfortunately, few people recognize this. NINJA: Do you think it would be advisable for American intelligence and other organizations like the Secret Service to send people to Japan to study ninjutsu? DR. HATSUMI: oh, yes, without a doubt. Right now I have a few American military officers at my dojo, but they are there as private citizens. I think it would be better if they were sent by their government on an official basis. Their government, through them, would learn much more than they can imagine; not only techniques, but also ninja psychology. It would be of great help to them. Some European nations have sent special agents (to learn), but so far, not the United States. It is something I would welcome. I would be very glad to offer my services, to teach for the goal of world peace.
NINJA: The martial arts, through films and magazines, are becoming increasingly popular, especially with younger people. There are a lot of schools. Do you think the martial arts are being taught properly here, with well-trained instructors? DR. HATSUMI: Well, American karate and other martial arts schools are going very much commercial; and that is a problem. Also, some people start teaching ninja techniques just after reading my books. There are many of them. They have never spent time in Japan. Of course, all of my students have legitimate schools; but others just call themselves ninja. That's okay by me (people can call themselves whatever they want), but they go too far and spoil the whole thing because they do not have the philosophy. Philosophy is most important in learning ninjutsu. Just teaching technique is wrong. If someone is only teaching technique he is not ninja. NINJA: so you feel that philosophy as the basis of any martial art is highly important. DR. HATSUMI: Absolutely. Anyone can learn technique and how to fight and defend themselves. But not everyone can be ninja. That takes an understanding of the whole history and science of ninpo. You have seen the whole forest; the technique is only one tree. To be ninja you must see the whole thing. NINJA: How can this trend toward commercialism be changed? DR. HATSUMI: In my opinion, the best way is to study with our school or with a student who has come here (to Japan). I am trying now to work out a plan that will allow me to send 20 or so instructors to the United States in the next couple of years to teach and help bring about a better understanding of ninpo. This will also help people deal with the problems of daily life. But it is a long process. I also plan to send teachers to other parts of the world. This is one of my major goals. This type of training can help bring peace because when you are strong and understanding you are at peace. NINJA: Do police departments ln Japan train their recruits in the martial arts? And do you think it would be a good idea, say, for the New York Police Department to train their recruits in such a manner? DR. HATSUMI: The Tokyo Police Department has a ninja club, as do many organizations; so does the military. Before someone can even join the police force they must have had training in judo and kendo and other martial arts. Once on the force they continue to study and move up in rank as they gain more skills. In New York as I understand it, they take anyone (whether they have martial arts training or not) and merely
instruct them in the use of guns and clubs. They would be much more effective with training in ninjutsu. (Editor's Note: Actually, NYPD recruits are instructed in the martial arts as part of their training process. Ninjutsu, however, is not officially one of them.) It is a different philosophy (in New York), but things should change. It would make life safer and more peaceful for everyone. You can't just believe in arms - which seems to be the American philosophy. There is much more to ninpo than that.
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Tessen Jutsu
- The iron fan blows a deadly br by Charles
Anyone who is not familiar with the wide variety of Japanese martial arts cannot help but to be surprised number of weapons and fighting systems that have been developed by that island nation. In addition to th more recognised arts of the sword, spear and bow, the Japanese have a bewildering collection of 'minor' m arts that evolved to fill limited but very important needs. Such arts as shuriken jutsu (throwing blades), ku gama (chain weapons) and fukabari ( needles and darts blown either from the mouth or through a tube) w developed and deeply studied. Later, some of these arts became highly evolved and achieved the staus of independent arts in their own right. One such art is that of tessen jutsu or the art of the iron fan.
Attacked with a downward cut, the defender sidesteps and jams the end of the tessen into the attackers hands
He then pushes th attacker around...
for a takedown kick to the leg....
so as to finish a blow to the h
The history of the iron fan is uncertain, but it is fairly safe to say that the fan as a weapon received more s in Japan than in any other country. (The only other country that could even come into consideration woul China, but information on Chinese fan technique is very limited and has no real historical basis that can b verified). Regardless of the weapons exact origins, it is certain that by the warring states period, the tessa a part of many warriors equipment. In pictures of the battle of Ichino-Tani, Kumagai no Jiro Naozane is s using a war fan. Later illustrations , such as that of the fourteenth century warrior Masashige Kusunoki, a show the use of the tessen in battle.
In the beginning the tessen was the property of the upper class and members of the court - this was also th case in China. It is interesting that the first fans were very large and were often carried by attendants. A d cousin of the fan was also seen in the giant fan-like banners that were carried into battle to help mark off sides were fighting for which leader. In this respect, these banners (in Japanese uma-shirushi) were used m like flags. Another relative of the war fan was the saihai which may have had it's origins in the Buddhist f whisk. These whisks were used to shoo away insects so that a monk or priest would not have to break the Buddhisy law by taking a living things life ( a law that would be broken even by swotting a fly). The saih were usually wooden handles with paper or cloth attached at one end so as to make a small and lightweig whip. Later, someone must have realised that the very same instrument would be a very effective club if a weight was added to the handle. Such weight could be added by simply using iron instead of wood for constructing the handle portion of the whisk. These, once made, were used as symbols of office and, beca of their weight, could be used to make orders clear to some of the more slow witted men under a warlord command. They were also unquestionably used to settle some of those minor disagreements that comman officers sometimes have. Even a stubborn samurai could often understand a point when it was emphasize with a pat on the head from an iron club. The tessen can be used against armed or unarmed opponents. Against a straight punch, the defender sidesteps and catches the incoming arm between his thumb and the tessen
The pain caused this action cause attacker to pull h arm back. The defender follows strikes the attack the head with an elbow
and then takes him to the ground for controlling
The advent of the folding tessen marked the rise of tessen jutsu. Although fairly small and thus limited in reach, the folding tessen (and the iron fans that were actually solid but looked just like the folding variety the advantage that it could be carried in many places where even a short sword could not. It should be remembered that it was not uncommon for samurai to be "permitted" (that's Japanese for "you have to") t leave their long swords at the door when visiting. Sometimes this custom was extended to include the sho sword as well. If there is one condition that a rational man wants to avoid when in a dangerous situation i that of being unarmed (especially when everyone else is probably armed). In such a situation, the tessen c be a real life saver. Although fairly short, these fans could be used to parry sword cuts and thrusts and to discouraging counter - attacks. This was particularly the case in very close quarters because the fan's ligh weight (compared to swords) made it an extremely fast weapon. It should be noted that a number of Japa famous swordsmen often used fans when challenged because it gave them the option of sparing their opponent's life while at the same time showing the challenger that he would be better off arranging flowe involving himself in some other harmless pastime. To gain some perspective on this, one only has to visu themselves confronted with a trained samurai armed with a sword and then complete the picture by armin themselves with only an iron fan that is maybe eighteen inches long. The famous Ittosai once fought a Ch martial artist who was armed with a halberd (battle ax) using only a fan. Ittosai defeated the Chinese with even injuring him. Today, the art of tessen is rarely practiced. It is studied in some of the ko?ryu (old sword schools) and in ninjutsu?ryu. It should be noted however that the Japanese sport of taihojutsu does make use of a short st weapon that is identical in length and similar in application to the tessen A technical improvement over the tessen was the jutte. These two weapons were used in much the same amnner. As the attacker makes a downward cut, the sword is caught by dropping low and bringing the jutte up.
The jutt then slamme the swo hilt
which is followed by a combination elbow and knee.....
to drop t opponen
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Test of Truth TO PASS IT THE NINJA MUST GIVE HIMSELF UP! By Ilan Gattegno A narrow path leads from the main road to the house of Tanemura Shihan, one of the master teachers of the ancient art of ninjutsu. Rice fields, cut not long ago, surround the house in Matsubushi Mura, a village only two hours away from Tokyo. In the dojo, at the house, all are silent. The Grandmaster, Dr. Masaaki Hatsumi, takes a sword that hangs on the wall. "Doron?kun, " he orders his Israeli student. "Sit in front of me." Everyone knew what was going to happen. Doron Navon, the first non Japanese to learn Togakure Ryu ninjutsu, was about to go through the "Test of Truth". About 10 of Hatsumi Sensei's top students were at the dojo; some of the most prestigious names in modern ninjutsu. All of them had at one time or another been through the same test. The Test of Truth, that whoever passes it receives the 5th dan (godan) rank in ninjutsu, differs from tests of similar rank in most other martial arts. The student sits in seiza with his back to the grandmaster. The grandmaster raises his sword above his own head, and then, all of a sudden, without warning, strikes swiftly at the head of his student. Only a split second separates the student and the deadly blow. In ancient days, it is alleged, a real sword was used. If the student could sense the sword coming and elude it, he made godan. If not . . . Today a bokken (wooden sword) is used, but the blow is horribly painful nonetheless; and the student's head is uncovered. Until this particular evening, only five of Hatsumi Sensei's students had passed the test on their first attempt. The others, also few, have felt the sword once, twice, some even three times before gaining acceptance onto that hallowed level of achievement. The senior students were alert, hushed.
This was the first time in which a non Japanese would be tested. The five shihan (master teachers) knew Doron well; he had been their training companion nine years before. At that time, after eight years in Japan, six with Hatsumi Sensei, Doron returned to his hometown in Israel and opened his own dojo. He still continued to study and practice, however, to reflect and absorb the immense wealth of knowledge Hatsumi Senses had bestowed on him. There was an awful lot to remember. And then one day in October 1983, the urge to return became stronger, almost unbearable. Doron and I were soon on our way back to his ninjutsu roots. He had not told Hatsumi Sensei we were coming. We simply arrived one day at his house. It was evening time in Noda city, Chiba prefecture, Japan. People were on their way home after a day's work. Doron and I went to Hatsumi Sensei's house, only a 10?minute walk from the train station, just off the main street. It looked as if nothing had changed for nine years. The bicycles were parked outside. The sliding door was open. A few pairs of slippers on the right. A few pairs of shoes. "Sensei?" The question barely touched the air and Hatsumi Masaaki was already at the door. "Hai. " (Yes.) He looked at his visitors. "Oksan, " he called to his wife Mariko?san, "Doron?than has arrived." Like a storm she came from their living quarters on the second floor. "Doron?than, " she cried, unable to hold back her tears of joy. She came to embrace him, but a bit shy, she just shook his hands continuously, looking at him, as if to make sure it really was Doron. Hatsumi Sensei smiled at the scene. He was very happy. A lost son had come back. For Hatsumi Sensei it was not as if nine years had passed, but only one day. He looked at his Israeli student, who had just arrived from the other side of the globe, as if it was natural for him to come like that. With no further small talk, he went straight ahead leading a conversation that was cut years ago. For him nothing was really strange about a son returning home
after years of absence. Doron had recalled for me his first meeting with Hatsumi Sensei in the early `60s. "We heard about him," he said, "while we attended the Kodokan for judo training. One day my friend Danny told me he had seen this master who used vicious techniques. He showed me some; and they were so different from anything I'd seen before. I urged him to take me there the same evening." Danny and Doron went straight to Noda city and arrived at the house. "The door was open but we knocked anyway. `Hello', he said to us, seeing two gai jin (nonJapanese, foreigners). We already spoke Japanese, after two years in Japan, and asked him whether we could get in and join the training session. He didn't say yes or no, but showed us the way in. I remember every minute from that moment on. Each minute for each pain. There were five senior students at the dojo, all wearing black belts on black gis. He gave a sign and two of them stopped what they were doing and came to welcome us. It was an unforgetable welcome. The two Israeli guests received a personal treatment which left marks on them for many days later. The two senior students played with them as if they were dolls, and each time they tried to resist, there was a countermove ready for them to hurt even more. On their way back home later that evening, they licked their wounds; but the next day they came again. They understood it was a world they never knew before, the real Budo. They came, were persistent, and Hatsumi Masaaki admitted them to his school. At first they were carefully looked at. True knowledge was not given away easily. Only when Hatsumi saw they were serious students did he begin to reveal the real art to them. They were the first non Japanese to become regular students in the Bujin Kan Dojo. A few westerners had visited Hatsumi before them, but none of those had become real ninjutsu students. In classes they worked on the basic movements, the kihon happo: Drills of kicks and blocks and punches, arm locks, arm breaks, body breaks. Only a few advanced techniques were used. Most were kept secret and taught only on a person?to?person level. The ominous swords just hung there on the wall, ready to be used on the third level. But this was not play. Hatsumi Sensei was at the saki period of his training, using killing techniques more than anything else. A student at that time had to know before
he entered the class that? training might also mean death. Nobody died, but still there was this commitment in the air and the techniques were executed almost to the full. Injuries were very common. "One day I broke my tailbone," recalls Doron. "But I didn't stop training; and I kept coming to class, with a pillow tied to my behind. Everybody thought it was so funny. "But Hatsumi thought my injury was a good opportunity. He called me up front to test me for my nidan. It was always like this. He always tested us the moment we were not ready for it. Once, I had a high temperature; a second time with my tailbone broken; a third time when I had a cast on my left hand after I broke my arm the previous lesson. But we had to do our best fighting, demonstrating our abilities with all the inconveniences. "I was really crazy at the time," says Doron. "I was training for six to eight hours a day. After each lesson I went to train with one of the shihans, each of them teaching me something different. To sum it all up, Hatsumi Sensei was teaching me as much as I could absorb. One day I felt I'd had enough. My body was a wreck from all those unavoidable injuries and my mind was full of so many techniques that I had to stop." In 1974, after eight years in Japan, Doron received his yondan rank and a teaching permit. He then returned to Israel and started his own dojo. The art was all in his head but he needed more practice to refine the movements and the ideas. The first Israeli students that joined Doron's dojo were not the most lucky. They had to cope with training in a very similar way to the saki time Doron had been through in Japan. But soon enough a group of devoted students became a nucleus of the Israeli Ninja school. Some of them eventually went to Japan to train with Hatsumi Sensei and the shihan master teachers of Togakure Ryu. "The most important thing for me is to keep on learning, practicing and teaching," says Doron. "Life is a continuous and changing thing and I must keep on going, moving with the rhythm of life, not pretending to be something I'm not. A real martial artist must know himself in order to see life in a clear way." The way for Doron, now that he was
back with Hatsumi Sensei, seemed clear enough. Hatsumi, however, had a surprise in store for him. He quickly arranged a "small gathering . . . just for old times' sake" with Doron's companions of years ago. Perhaps they would "practice a little. . . " Hatsumi smiled. Moments later we were on our way to Tanemura Shihan's house. Once there, there was much greeting and handshaking all around, and the recalling of many wonderful memories. And then Hatsumi Sensei suddenly turned to Doron and asked, "Do you want to take your godan exam?" Doron was momentarily flustered, so totally unexpected was the question. But then he composed himself, shrugged and smiled, "Why not?" Ordinarily a non?student would not be allowed to witness this very private ceremonious event; but since I was Doron's student and had traveled with him all the way from Israel, Hatsumi Sensei made the exception. I sat quietly down in a corner, excited, yet restrained, perhaps a little nervous. It seemed that history of a sort was in the making. Hatsumi softly instructed Doron to sit in seiza, then stepped behind him. In an instant Doron jumped up, still a little flustered, perhaps just a little nervous himself. Hatsumi laughed and said, "But I haven't even started yet." And then Doron sat down again and relaxed, his body slowly unwinding, untensing, letting go . . . . Hatsumi stood ready, his sword upraised, his eyes closed. Doron sat at his feet, his back to him, motionless, waiting. Suddenly Hatsumi stroked. The sword sped down toward Doron's head. In the same instant, it was as if someone had pulled Doron aside. He rolled to his right and the sword sliced past, reaching the point where Doron's stomach had been only a moment before. Hatsumi's eyes were still closed. He affirmed his hold on the sword and opened his eyes. "Hai!" (Yes!), he said. "Godan. " (Fifth dan) . I was sitting in the corner not believing my own eyes. Hatsumi Sensei turned to me, pointed at Doron, and said: "Mites!" (You saw that!). "Now tell everybody." Doron's Japanese friends could not contain their joy. They rushed to him, shook his hand warmly, excitedly, laughing and shouting. There was no denying how happy they were for him. Doron himself hadn't yet realized what he'd just been through. Only a few days later did he understand the significance of his personal achievement. Hatsumi Sensei presented him with a gold medal he had prepared many years ago
to award the first non Japanese student who could pass the test on his first attempt. It had taken more than five years to give the medal away. "Homono?Shidoshi," Hatsumi Sensei called him. A true teacher; a title that accompanies the test and the new rank outside Japan. Doron Navon is the first, and so far, the only non Japanese to hold it. He has since earned his rokudan, the highest rank in the West and, as he puts it, "this is only the beginning." Even in Japan there are only a few Homono?Shidoshi. Since the late 1960s, when the art of ninjutsu came out of the shadows, there have not been that many who came to study the art with total commitment and full dedication. The study of ninjutsu requires many, many years of hard work; training and more training, over and over again. Grandmaster Hatsumi says it took him some 40 years to acquire the ability he has now; and he still keeps going. At 56, Hatsumi Sensei doesn't rely on strength and muscles to get the job done. "If your technique is based on strength, some day a young bull will come and beat you with fresh muscles," he says. The art that Hatsumi Sensei practices has a character of "no power". The nagare (flow) of his movement has no resistance whatever. "If you feel you use strength against your opponent," Hatsumi says, "it means you are not exercising the real art." This does not mean that Hatsumi Sensei is powerless; on the contrary: He masters the art in a way that has no rival, not even among the younger students who have practiced under him for more than 20 years. Says one ninjutsu shihan who knows Hatsumi well: "He always has another rabbit in his hat. And he also has many hats . . .
(Editor's Note:) Recently, Doron Navon stopped by our New York offices on his way to Toronto, Canada to attend a seminar. We talked about his years with Hatsumi, specifically about his "Test of Truth." Doron explained that godan is a very special stage of ninjutsu training. It is highly advanced. The first four belt levels are a significant part of the process, but they mainly emphasize the physical aspects: taijutsu, the techniques, the weapons etc. From the beginning, however, the student is evolving, always experiencing a higher level of understanding, until the senses become acute. When the instructor sees that the student is becoming more aware
of himself, his senses, his instincts, his intuition, he knows then that he is ready. Everything then culminates in the exam for godan . . . the Test of Truth." As for his own exam, Doron Navon recalled: "After I jumped up the first time, I got myself together, then sat down again in seizes. Before, I was tense, tight. This time I just let myself go, finally achieving jibun o sutera (letting go of one's self, one's ego). But the really strange thing is, I could not remember anything that happened from that moment on ? until I felt myself off to one side, looking at Hatsumi Sensei and seeing the sword passing within an inch of my body. It was as though it was all in slow motion. Of course I was told later what really had happened: that the sword was not coming down in slow motion at all; that it had looked as though I had been jerked aside by some force... But all I remember is seeing the sword passing slowly by. "What was even more interesting to me," Doron smiled, "was that Hatsumi Sensei had told the others, without my hearing it, that he `knew' I would pass the test. Even then, they all gasped in astonishment. It pleases me to know Hatsumi Sensei had that much confidence in me." Apparently it was a Test of Truth for both student and master. And both passed with flying colors.
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Three Fallacies of Ninjutsu The Truth About the Ninja's Past by William Durbin Myths and misconceptions abound in the martial arts, especially when dealing with the mysterious Japanese. system ninjutsu. There are three popular fallacies about this combat style which often prevent it from being a positive influence in the martial arts community. Some of these misconceptions have been perpetuated, surprisingly enough, by those who promote and teach the art. Such Dr. Masaaki Hatsumi is the individuals feel they benefit current headmaster of the togakure-ryu ninjutsu system, the more if ninjutsu is kept from proceeding out of the shadows from which it originated. most popular surviving ninja tradition in the world today. The three main misconceptions regarding ninjutsu are: 1) that ancient ninjutsu was practiced only by members of the ninja clans; 2) that ninjutsu was created and developed by followers of Mikkyo Buddhism; and 3) that ninjutsu is an art which encompasses many fighting systems. By examining each of these fallacies closely, it is possible to debunk them and discover the truth about this centuries-old martial art. First, ninjutsu originated hundreds of years ago in the. Buddhist temples of Japan. When Buddhism first appeared in Japan, some people were afraid of this foreign religion. Most of these individuals followed the indigenous faith, which came to be called Shinto, and they began to persecute the believers of Buddhism. In response to this harassment, the Buddhist monks began to develop martial skills for the purpose of defending their temples and their faith. These warrior monks, who were referred to as sohei, became noted for their martial arts skills. Kempo was the primary art practiced at the temples, form ing the foundation upon which all of the other forms of fighting were based. The monks were particularly known for their skill with weapons such as the naginata (halberd), yari (spear) and ono (battleax). The monks only resorted to fighting when there was no other recourse. More often, they employed subtle tactics, using a specialized art based on a religious concept called ninpo, the "principle of patience." Sitting in meditation or studying the scriptures for hours developed in the monks great patience, a quality they were able to apply to their martial arts training. One of the most highly valued abilities among the monks was "body lightening," an alightening,"rt that came to be called karumijutsu. It was thought that by uplifting his spirit, a monk could lighten his I)ody. To develop this skill, the monks tirelessly and patiently practiced techniques of leaping and climbing. The monks discovered that the subtle body-lightening skills, and the patience they developed, were qualities which could be easily applied to clandestine movement, and thus the sohei began to use these abilities to spy on their persecutors. The information the warrior monks gained was used to help protect their temples, their followers and themselves. Many times, their intelligence gathering alerted them to assassination plots or temple assault plans, enabling them to take appropriate countermeasures.
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Because their religious beliefs did not permit them to carry out certain forms of espionage-including undercover work of a sexual nature-it was necessary for the Buddhist monks to befriend and teach martial arts to some of the local farmers, who were called on to act as warriors when necessary. These jisamurai (farmer warriors) took it as a great honor to be taught ninjutsu-the art of patience or stealth based on the principle of ninpo. Some jisamurai, particularly those who were highly skilled, later became professional warriors called samurai or bushi. Thus, it is apparent that ninjutsu was developed by Buddhist monks in Japan, primarily for reasons of religious freedom. The art was later shared with jisamurai, and was eventually part of the combat arsenal used by professional warriors to protect their lords. Nearly every comprehensive ryu (martial arts system) that developed before the Tokugawa era (1600-1868) included ninjutsu in its curriculum. Who, then, comprised the ninja? The ninja were outsiders who held no loyalty to any Buddhist temple or samurai clan. It is believed that some masterless samurai (ronin) decided to become mercenaries and sell their skills to the highest bidder. Some of these individuals established organizations designed solely for mercenary activities. Generally, jonin-the leaders of ninja organizations-were ronin, as were the chunin, or middlemen, who arranged missions and acted as go-betweens when dealing with a client. The agents who actually performed the missions were genin, or "lower men," who were taught only those skills considered necessary for a particular assignment. Genin were trained as scouts, trackers, assassins and/or fighters, depending on their mission. Because their training was limited to specialized skills, they were not nearly as thoroughly trained as their samurai or sohei counterparts. While it is true that many ninja ryu evolved from those of the Mikkyo Buddhist faith, others developed from other sects. It seems that Mikkyo Buddhism was central to the Iga ninjutsu clans, while Zen Buddhism was the faith of choice of the warriors of the Koga area of Japan. Most ninja actually had little religious training, instead maintaining a basic indigenous faith, or possibly remaining loosely tied to their jonin's religion. This vague connection allowed them the freedom to perform missions against any sohei temple or samurai clan.
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Samurai and sohei skilled in ninjutsu and trained to perform clandestine missions always held to a code of honor that Today's ninjutsu stylists often would not allow them to be gather at special camps to conduct unfaithful to their religion or exercises (1) and classical disloyal to their lord or temple. weapons drills (2). The ninja, however, were not similarly bound by a code of honor. In dealing with the final false assumption-that ninjutsu encompasses a number of fighting systems-it should be noted that when the late martial arts scholar, Seiko Fujita, categorized the bugei (martial arts) of Japan, he listed ninjutsu as simply one of the 34 combat styles he recognized. It should be pointed out, however, that Fujita was the headmaster of koga ha sato ryu, which included both ninjutsu and kempo. Ninjutsu is a very specialized art which taught practitioners how to covertly enter and exist in all types of places. In feudal Japan, it was the art of espionage and counterespionage. It was often applied to guerrilla warfare, helping a small force gain entry to a castle or province for the purpose of raiding the occupants. Included in the list of bugei are: bojutsu (stick art); kenjutsu (sword art); kumiuchi (grappling and striking); naginatajutsu (halberd art); ninjutsu (stealth art); sojutsu (spear art); suieijutsu (swimming art), and many more. From a historical point of view, the terms "ninja kenjutsu" or "ninja bojutsu" are meaningless. Each ryu had its own special way of performing techniques or handling weapons. To be historically accurate, it would be proper to use the name of the ryu and then the art-the tenshin shoden katori shinto ryu kenjutsu, for example, or the tenshin shoden katori shinto ryu ninjutsu. While certain elements overlap in all martial arts, kenjutsu is kenjutsu, whether practiced by a samurai, sohei or ninja. There is one final ninjutsu fallacy that should be addressed. Modern-day ninjutsu practitioners Although there are still people today who refer to themselves as still practice many of the skills their forebears did, including wall ninja, the fact is, in the classical, historical sense of the word, ninja no longer exist. When the Japanese feudal system fell in scaling (1 2), rappeling (3) and underwater breathing (4), as well 1868, and the emperor formally abolished the class system, all as training with weapons such as titles relating to it died as well. There are no more samurai, no blowguns (5) and shuriken (6). more sohei, and no more ninja. These titles, apart from their historical significance, mean nothing anymore. There are, however, still bugeisha and budoka-i.e., martial artists. There are karateka, kempoka, judoka, aikidoka, etc. The ka suffix means "house." Thus, an aikidoka is one who belongs to he "house of aikido." Ninjutsu needs to take its place among the honored martial arts of the Orient. lit needs to be viewed for what it was-an art created to protect religious freedom and practiced first by monks, then by warriors. There was a time it was perverted by mercenaries who practiced the style without honor, and those who were called ninja never understood the true art as founded by the sohei and practiced by the samurai. Even the most famous ninjutsu system today, togakure-ryu-actually evolved from the samurai tradition. Ninjutsu is a wonderful martial art, but to be truly appreciated in an honorable light, it needs to disassociate itself from the terrorists and assassins of the ancient ninja organizations. About the author: William Durbin is a Frankfort, Kentucky-based martial artist and freelance
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Sensei's Online Journal Toshitsugu Takamatsu - On Happiness The way to experience ultimate happiness is to let go of all worries and regrets, and to know that being happy is the most satisfying of life's feelings. Reflect back on all the progress in your life and allow the positive, creative and joyous thoughts to outshine and overwhelm any sorrow or grief that may linger in the recesses of your mind. Knowing that disease and disaster are natural parts of life is the key to overcoming adversity with a calm and happy spirit. Happiness is waiting there in front of you. Only you can decide whether or not you choose to experience it. Take this to heart.
