KAMAE (POSTURES) These 5 Kamae should be practiced with Metsubushi and Shuriken concealed inside your jacket, and with the Ninja-To (ninja sword) inside your Obi at your left hip.
Ichi no Kamae (No. One Posture – Flat Posture)
From Shizen no Kamae step back with the right foot. The feet are approximately 2 ½ to 3 feet apart with about a 1 inch gap between. The front foot (left) is angled very slightly to the right. This is not noticeable to the Uke. The back foot (right) points 45 degrees to the rear. Lower your centre of gravity as much as is comfortable (this takes time). Your knees should hide your feet if you are looking down (important point). Make sure the knees are not buckling inwards to take the strain. This will hurt initially but the pain is temporary and, if practiced correctly, will build strong legs. This is an important point. Your back needs to be angled along the line of this Kamae – you do this by leaning your body sligh tly back, then with a feeling of rotating your lower torso clockwise to the point when the hips lock This will ensure that the back is straight. Make sure your backside is not sticking out. This is a common mistake and should be corrected from the start. Keep your shoulders relaxed and do not hunch them. Your left arm is pointed to the Uke’s chest with a slight bend at the elbow so the arm is not locked (the Kanji for Ichi is a horizontal line, so your lead hand should emulate this). The hand is held in such a way that your palm is obscured from the Uke’s vision. The fingers are held straight and together (no tension). Do not open them. The left hand should be roughly perpendicular to the left foot. The right hand is held about a fist width away from the chin – again your palm is hidden. Both hands resemble a loose Shuto fist. Remember, keep the shoulders relaxed. Your head and neck should follow the line of your spine with the head facing forwards. Do not tilt your head to the side. This is a common mistake and should be corrected from the start. Fix your eyes on the Uke. Take all tension out of your body and relax. This is Hidari (left) Ichi no Kamae. Do this on the other side also (Migi (right) Ichi no Kamae). Kuden The feeling for this Kamae is not allowing the Uke to get close to you.
Hira Ichimonji no Kamae (Flat No. One Posture)
From Shizen no Kamae step out to the side so that the feet are open slightly over shoulder width apart. Drop your weight a little to unlock the knees. The arms are held horizontally out to your sides with your elbows unlocked. The hands are held out, and slightly forward and raised to roughly the level of your eyes – you should just about see them in your peripheral vision. Your neck and head are straight and facing forwards. Take all the tension out of your body. Kuden The feeling of this Kamae is either gently wrapping the Uke up, allowing the Uke’s force to go by, or confining the Uke’s movements.
Hachimonji no Kamae (Number Eight Posture)
This Kamae is the same as Ichi no Kamae with the following changes – This Kamae is slightly higher than Ichi no Kamae. Straighten your back so it is upright, neck straight, and head straight. Your lead hand points to the Uke’s eyes and your rear hand is vertical, high above your head/shoulder (elbow unlocked) with the hand held in a loose fist (this is to hold metsubushi) Kuden The feeling for this Kamae is a strong intention to defeat the Uke.
Happo-Gakure no Kamae (All Sides Concealing Posture)
From Shizen no Kamae, take two Metsubushi from your jacket and conceal them inside each hand with loose fists. Then step forwards with the left foot and raise your arms vertical above your head / shoulders with slight bend in the elbows (similar to Hoko no Kamae from the Koto Ryu). Drop your weight slightly, body on a 45 degree angle with your head forwards. Kuden The feeling for this Kamae is to be able to scatter Metsubushi in all directions – and then to escape using Goton no Jutsu.
Ton-So no Kamae (Escaping Posture)
This Kamae is similar to Ichi no Kamae with the following differences – Your leading hand is placed inside yo ur jacket (this is in readiness to throw Metsubushi or Shuriken to the front) and the back hand is either supporting the lead hand underneath the outside of the jacket, or kept on the sword. Also practice the Kneeling Ton-So no Kamae:
Kuden The intention with this Kamae is to attack the Uke with Metsubushi or Shuriken, and then escape to the rear with Goton no Jutsu.
TAIJUTSU UKEMI-GATA (BODY TECHNIQUES - PASSIVE FORMS)
Shuko are worn throughout all of these techniques.
Kaeshi Dori (Counter Capture)
Begin in Ichi no Kamae. The Uke begins in Daijodan no Kamae. As the Uke cuts in with Kara Take Wari, step slightly forwards and to the left with the left foot and drop down to the floor onto the right knee. Place your hands either side of the Uke’s right foot, or strike to the foot with the back of the right Shuko. The moment you hit the floor, this should happen all at once. From F this position, rebound and leap into the air and simultaneously kick the Uke ttoo Suigetsu with Ryote Sokugyaku Geri (double kick to stomach with the toes) and strike /slap to the Uke’s face with the Shuko. Land and immediately roll backwards to a position positio of safety and return to Ichi no Kamae. Zanshin. A couple of important points to learn is the correct distance for entering in – you need to be at a distance wher e the Uke cannot counter cut – so position yourself so you can contr ol the Uke’s hands with your shoulder if necessary. It is also fine to move to the right of the Uke in tthis form. Same technique – only this t ime step to the right with the right foot, drop down to the left knee and hands to the floor in between his feet. Lastly, keep in mind that you can pick up dirt as you drop down and use it as Metsubushi.
Ken-Nagashi (Fist Flow)
Begin in Ichi no Kamae. The Uke begins in Daijodan no Kamae. As the Uke cuts in with Kara Take Wari, Kiai as you move forwards with the right foot and drop down to the left knee. Then, strike with a right Shikan Ken to the Uke’s Suigetsu. Suiget If the distance is closer, step off a little to the left with the left foot and drop down to the right knee, and strike the same way. way Then, roll to the right side (Yoko Kaiten) and at the same time strike slap down to the Uke’s right Toki (top of the ffoot) oot) with the left Shuko, and to the Uke’s left Toki with the right Shuko. Roll to a position of safety and re return turn to Ichi no Kamae. Zanshin.
An important point here is to be underneath the Uke’s arms, not his sword when he cuts. Also, the strike down to Toki can be replaced with clawing to the Uke’s ankles as you roll past them. Striking to Toki is preferable though – and keep in mind the idea of when you strike/slap the first foot, the Uke’s weight will automatically be on the other foot. Use this as strategy.
Ichi no Kamae (No. One Posture)
The feeling with this technique is of not letting the Uke approach. Use this technique to practice striking the Uke with Shuto Ken. Begin in Ichi no Kamae. The Uke begins in Daijodan no Kamae. As the Uke cuts with Kara Take Wari, leap left or right past the Uke’s sword using Taihen Jutsu and land to strike with either Ura Shuto or Omote Shuto. If you are in Ichi no Kamae with left foot forwards, leap in to the left with the left foot forwards, and at the same time bring the left Shuko to the Uke’s hands to cover from counter attack and strike the Uke’s right Kasumi or Uko with a right Ura Shuto. If you are in Ichi no Kamae with the right foot forwards, use Marutobi (circular leaping) by springing off the left foot (back foot) in a clockwise direction to the left (Uke’s right side). As you do this, the right Shuko covers from potential attack and the left strikes with Omote Shuto to either Kasumi or Uko. From there leap back into Ichi no Kamae and then Zanshin. Remember, there are 4 strikes to train in total.
Itto-Dori (One Sword Capture)
The main point of this technique is to receive the sword with the Shuko. Begin in Ichi no Kamae (right hand forward). The Uke begins in Daijodan no Kamae. As the Uke cuts with Kara Take Wari, step forwards with the left foot and bring the left hand up from below to receive the sword blade at the point just below the tsuba – make sure you keep your body low and keep your fingers right back when you receive with the shuko. Then, bring the right hand on top to clamp the sword with the shuko and twist your hands to lock the sword. Lastly, strike the Uke to Jinchu with a right Ura Shuto. This is all that is written in the scroll. This is the variation – After the Ura Shuto, put the right hand back on top of the sword and move it slightly to your left side, then kick the Uke to either Suigetsu or Kinteki. As the Uke falls, step back with the right foot trap the sword handle underneath your right arm (press it between your arm and your body). From this position you can cut the Uke. Zanshin.
Yoko-Geri (Horizontal Kick)
The important point to this technique is how to kick accurately. Begin in Hira Ichimonji no Kamae. The Uke begins in Seigan no Kamae. The Uke thrusts with the sword. At that instant, step forwards to the left and lower your kamae at the same time by
dropping your hips (your body twists slightly clockwise). From here, kick with the right foot to the Uke’s hands to knock the sword away. Then as the foot lands, strike to Suigetsu with Shikan Ken. Zanshin. Front View:
With this technique, remember to stay in a low posture throughout the technique.
Itto-Giri (One Sword Cut)
The important point of this technique is how to hold the sword and how to cut with the sword whilst wearing Shuko. Instead of grasping the sword handle with your fingers, use the hooks of the Shuko instead.
Begin in Bikenjutsu Seigan no Kamae (refer to the Ninja Biken Densho for precise information on this Kamae). The Uke begins in Dai Jodan no Kamae. As the Uke cuts with Kara Take Wari, drop to the left knee and cut with Gyaku Do Giri to the Uke’s right side. Zanshin.
SHINOBI-GAESHI-GATA (STEALING INTO AND FADING FORMS) These techniques are training for how to fight when discovered while infiltrating enemy territory.
Kasane-Gaeshi (Nesting Counter)
An adversary approaches you when you are near a wall / roof in enemy territory. Put both hands on the wall / roof, jump up on top of the wall / roof in one motion, and lie flat. The important point of this technique is pulling yourself up in one motion. This illustration shows the different styles of wall and roof. You hide on the side opposite to that which you have jumped onto. If it is a roof with a lip, hide inside the lip. This is applicable to Kasane Dori also. Jump up and place the left elbow on the wall and the right arm over the wall. This is to hoist yourself up onto the wall. Then, you lay hidden on the inside of the wall so that the enemy cannot see you from the road.
Kasane-Dori (Nesting Capture)
This technique is for how to appear suddenly to the enemy from the peak of a wall, attacking then disappearing in one instant.
The important point of this technique is how to kick with both feet. Begin by performing the previous technique. As the enemy approaches, you wait until he is in striking distance, then, swing your legs like a pendulum (anchor yourself to the wall with your arms/elbows). Kick to the enemy’s face with either one or both feet. Then use the rebound movement from this to swing back onto the wall. Carry this motion on and leap down to the opposite side of the wall and escape using Goton no Jutsu.
Sora-Tobi (Flying in the Sky)
This technique is used when climbing a tree when escaping from enemies. The method is to leap and catch a low tree branch, then swing both legs up and over to bring you onto the branch (remember to choose a suitable branch for this), and then climb to a height that makes it impossible for the enemy to attack you with a sword or a spear. Then, attack the enemy with Senban to distract them and when the timing is right, drop down from the branch and escape using Goton no Jutsu. Bear in mind that you can use the branches as cover if the enemy try to attack by throwing spears of firing arrows. The important point to this technique is the method of initially leaping to the first branch.
Yoko-Nagare (Side Flow)
This technique is for when you are faced with 2 enemies, one to the front and one to the rear. One has a sword in Dai Jodan no Kamae and the other has a spear in Seigan no Kamae. You enter into Tonso no Kamae – right side towards the swordsman. You w ait for the moment that the enemy with the spear is about to attack – either with a Kiai or widening of the eyes. At that moment throw a small stone or Metsubushi at the swordsman. Then instantly drop and roll away with Yoko Nagare to a position of safety. The enemy with the spear will either stab the swordsman instead of you or hesitate. If the timing is perfect, the swordsman will be stabbed with the spear. Then, Zanshin. The most important point to this technique is to know when the most opportune time is to react.
Ushiro-Nagare (Back Flow)
There are 3 enemies to your front with spears and swords. You stand in Tonso no Kamae with your right side to the front. At this point it is important to evaluate their intentions. If you feel that they are going to attack, then let them come close – but not close enough to attack you. When one or all of the enemies are about to attack, throw Metsubushi in an arc to the front, then roll away to the rear using Ushiro Nagare (Koho Kaiten). The important point to this technique is to roll back even if Metsubushi is not used. If you think about it, if these techniques were used outdoors in open grassland or woods, then you would be concealed to a point in the tall grass or scrub. The other important thing to consider is how to roll whilst wearing a sword. It is preferable to pull the Saya out slightly and keep your hand on the Saya/Tsuba whilst rolling (this is also applicable for the previous technique).
Naka-Gaeshi (Middle Turn)
This technique is for when you believe that you are being followed by enemies. You either use Oten (sideways cartwheel) or Zenpo Tenkai (forward handspring) to the front to create distance and to confuse the enemy. Do this soundlessly. Then escape using Yoko Aruki and then Goton no Jutsu.
Yoko-Gaeshi (Side Turn)
You are faced with enemies to the front and to either the left or the right. Use Oten (sideways cartwheel) to escape to the left if the enemy is to your right or vice versa. Then use Yoko Aruki to escape then Goton no Jutsu.
Tobi-Chigai (Jumping Roll)
This technique is for when you need to climb a tree that is too wide to get your hands around, or when the branches are too high. Use your Shuko to scale the tree in this case.
Itto-Nage (Single Sword Throw)
The techniques name means to throw your sword. This technique is for when you are in a desperate situation of which there is no other way out, and you have to take a life. There is no real form to this technique – and it is to be practiced from all of t he Kamae. The optimum distance to throw your sword effectively is about 6 metres away from the target. The idea is to throw the sword straight ahead. You should practice against an inanimate object and concentrate on when is the best point to release the sword to make it fly straight at the target. It is the same principal as Shurikenjutsu. To clarify, if you are in Gedan no Kamae or Tosui no Kamae, you throw from where the sword position is – so you throw the sword up and out.
If you are in Seigan no Kamae, Chudan no Kamae or Ichi no Kamae, then it is more like throwing it straight out. Hasso no Kamae is almost like cutting and letting go at the optimum time. Kasumi no Kamae would be to throw the sword in a similar manner of doing a Shuto fist strike. This technique requires long practice, and also requires good Taijutsu.
Teppan-Nage (Iron Plate Throwing - For Senban Shurikan)
Hold nine flat steel plates (Senban) in your left hand and use your right hand to create spin when throwing them at the enemy. The main point of this technique is the use of the right wrist. Kneel on the left knee with the Senban in the palm of your left hand. Use the tip of your right index finger, thumb on top and the top of the middle finger to hold the Senban, and use a snapping motion of your right wrist to create the spin needed to throw them.
When wearing Shuko and throwing Senban, the hand does not close as easily, so you should use the finger tips more than before. You can also throw to the left with a right handed throw, palm up, by holding the tip of the Senban. You do this by kneeling on the right knee and throwing under your left arm. (the Senban will spin counter clockwise).
Kiri-Kaeshi (Turning Cut)
The name of this technique means to counter cut. This technique is to match the Uke’s cut with a thrust to his eyes to make him flinch, then to observe his next move before returning the attack.
Begin in Naka Seigan no Kamae (the tip is slightly lower than in regular Seigan). The Uke can start in any Kamae. The point is at the instant the Uke begins to cut, thrust to his eyes with Kiai to make him hesitate. If he does nothing, then tsuki through the eyes – if he shifts to either your left or your right, then step in with the left foot and cut with Do Giri to the Uke’s right side, or step forwards with Yoko Aruki with the left foot and cut with Do Giri to the Uke’s right side and carry on moving past the Uke. This all depends on where the Uke moves, and your decision on the best position to cut the Uke. The important points are to stop the Uke with a Kiai and a Tsuki to the eyes, and then to wait to see his next move before you respond. This is closely related to Kiri-Kaehi from the Ninja-Biken Section.
Sute-Mi (At the risk of ones life)
The technique means to hold the intention of sacrificing your own life. This technique is used for when you are faced with many
enemies. The strategy here is to make the strongest looking person or the boss think that you are attacking them, and then quickly change to attack the weakest looking one – if you are circled, then this becomes the weakest area in the circle. You begin from Shizen no Kamae. Face the boss/strongest man and do Kiri Kaeshi (previous technique) but instead of finishing the technique, turn to cut down the weakest enemy with any of the techniques that you have learned from the Ninga Biken Section. Issen Ken or Datou no Ken are best for this. This is a strategy more than a technique, however, it is an excellent way to practice flowing from one Biken technique to another. Remember, the point of this technique is not to get caught up in a sword fight, the point is to escape. This is closely related to Sutemi from the Ninja-Biken Section.
SANTO TONKO NO KATA (ESCAPING MOUSE FORMS) When performing these techniques, place three Metsubushi in the upper inside pocket and nine Senban in the lower inside pocket. Sword and Shuko are also used. Unlike the previous techniques, the names of these techniques do not have any deep meanings.
Kata Ude Tonso no Kata (One Armed Escape and Run Form)
The Uke grabs your right wrist with his right hand. Both Uke and Tori enter into Hachimonji no Kamae (instead of making a fist with the rear hand, open it flat so that your palm is towards the Uke’s face). The Uke either tries to pull you towards him, or, you pull the Uke towards you – both ways are correct. Imbed the spikes of the Shuko into the Uke’s wrist and enter into Take Ori as you are about to put the technique on him (as you put on Take Ori). This is the form – Either the Uke or the Tori Pulls with 3 shuffle steps to the rear. On the third step, raise the Uke’s wrist with Take Ori and kick
with the right foot to the Uke’s right side Koe (to the side of the groin). Your right foot then lands to the Uke’s right side as you pass under the Uke’s right arm in the manner of Yoko Aruki (counter clockwise movement with your body into the next movement). Finish this movement by continuing the counter-clockwise movement and drop to your left knee (facing the same direction as the Uke) and throw the Uke with Katate Nage (one handed throw). Then immediately stand up and take your Metsubushi, crush and then throw it at the Uke’s eyes. Lastly, leap back with Chi Tobi and escape using Doton no Jutsu (in these cases, that means lying face down on the ground). Zanshin.
Hidari Tonso no Kata (Left Hand Escape and Run Form)
The Uke grabs your left wrist with his right hand. Both Uke and Tori enter into Hachimonji no Kamae (instead of making a fist with the rear hand, open it flat so that your palm is towards the Uke’s face). The Uke either tries to pull you towards him, or, you pull the Uke towards you – both ways are correct. Imbed the spi kes of the Shuko into the Uke’s wrist and enter into Take Ori as you are about to put the technique on him (as you put on Take Ori). This is the form – Either the Uke or the Tori Pulls with 3 shuffle steps to the rear. On the third step, raise the Uke’s wrist with Take Ori and kick with the right foot to the Uke’s right side Koe (to the side of the groin) and at the same time grab the Uke’s elbow with your right hand. Your right foot then lands to the front of the Uke’s right foot (about 1 foot away with your foot in the same direction as the Uke’s, so similar to Yoko Aruki) and your left foot comes to the front of the Uke’s left (very close). Drop to your left knee to throw the Uke with Koshi Nage (hip throw). Then immediately stand up and take your Metsubushi, crush and then throw it at the Uke’s eyes. Lastly, leap back with Chi Tobi and escape using Doton no Jutsu (in these cases, that means lying face down on the ground). Zanshin.
Hidari Ude Tonso no Kata (Left Armed Escape and Run Form) The Uke grabs your left wrist with his left hand. Both Uke and Tori enter into Hachimonji no Kamae (instead of making a fist with the rear hand, open it flat so that your palm is towards the Uke’s face). The Uke either tries to pull you towards him, or, you pull the Uke towards you – both ways are correct. Imbed the spi kes of the Shuko into the Uke’s wrist and enter into Take Ori as you are about to put the technique on him (as you put on Take Ori). This is the form –
Either the Uke or the Tori Pulls with 3 shuffle steps to the rear. On the third step, raise the Uke’s wrist with Take Ori and kick with the left foot to the Uke’s Suigetsu (stomach) and at the same time grab the Uke’s elbow with your right hand. Your left foot then lands to the back of the Uke’s left foot and you pull the Uke’s arm to the rear to take balance at the same time. Drop to your knee and pull the Uke’s arm down to throw the Uke onto his back Then immediately stand up and take your Metsubushi, crush and then throw it at the Uke’s eyes. Lastly, leap back with Chi Tobi and escape using Doton no Jutsu (in these cases, that means lying face down on the ground). Zanshin.
Migi Tonso no Kata (Right Escape and Run Form)
The Uke grabs your right wrist with his left hand. Both Uke and Tori enter into Hachimonji no Kamae (instead of making a fist with the rear hand, open it flat so that your palm is towards the Uke’s face). The Uke either tries to pull you towards him, or, you
pull the Uke towards you – both ways are correct. Imbed the spi kes of the Shuko into the Uke’s wrist and enter into Take Ori as you are about to put the technique on him (as you put on Take Ori). Take Ori in this technique is with the palm facing the Uke (your index finger finger points to the right). This is the form – Either the Uke or the Tori Pulls with 3 shuffle steps to the rear. On the third step, raise the Uke’s wrist with Take Ori and kick with the right foot to the Uke’s Suigetsu (stomach) with Kakushi Geri (hidden kick) and at the same time grab the Uke’s elbow with your left hand from above. Your right foot then lands in between the Uke’s feet and you turn your body counter clockwise as you drop to your right knee (this is done as the foot lands) and pull the Uke’s arm down in an elbow lock to drop the Uke face down. Then immediately stand up and take your Metsubushi, crush and then throw it at the Uke’s eyes. Lastly, leap back with Chi Tobi and escape using Doton no Jutsu (in these cases, that means lying face down on the ground). Zanshin.
Migi Te Kubi Suji Tonso no Kata (Right Hand Escape and Run Form)
The Uke grabs the back of your collar from behind with the right hand. The Uke pulls you back 3 times. On the first pull step back with the left foot (toes point to the left) – bring your right foot along side your left foot (toes forward). On the second pull, stoop low and step back with the left foot (toes point to the right) – bring the right foot back to the point where the toes are in line with your heels (toes forward) – within this movement place your right ha nd on top of the Uke’s right hand. On the third pull sink the spikes of the Shuko into the Uke’s right hand and step back with the left foot so that it is behind the Uke’s right foot (toes point to the left) and strike the Uke to Suigetsu with a left Enpi (elbow) – release the Uke’s right hand from your collar by lifting it off with your right hand. Then, bring your right hand up and over in an arc to throw the Uke with Katate Nage. Then immediately stand up and take your Metsubushi, crush and then throw it at the Uke’s eyes. Lastly, leap back with Chi Tobi and escape using Doton no Jutsu (in these cases, that means lying face down on the ground). Zanshin.
Hidari Te Kubi Suji Tonso no Kata (Left Hand Escape and Run Form)
This is the same as the previous technique, only it is done on the left side this time so the left hand covers, the right leg moves off first and the right Enpi strikes. The only difference apart from this is that when you throw the Uke with Katate Nage, you drop to the right knee.
Ate Komi Tonso no Kata (Hit Include Escape and Run Form)
The Uke is in Dai Jodan no Kamae with a sword. Stand in Hachimonji no Kamae (left hand forward). At the instant the Uke starts to cut, step in with the right foot and sink down to the left knee, then slam into Suigetsu with a right Boshi Ken. Then, throw
Metsubushi, then leap away to the right side and use Mokuton no Jutsu – this is to use a tree for concealment and/o r to use the tree as a barrier between you and the Uke. Keep your posture high and be ready to throw Shuriken (Zanshin).
Kote Uchi Tonso no Kata (Wrist Strike Escape and Run Form)
The Uke is in Dai Jodan no Kamae with a sword. Stand in Hachimonji no Kamae (left hand forward). At the instant the Uke starts to cut, push off with the back foot and leap forward to the left (to the outside of the Uke). When you land, strike down with a right Shuto to Nagare (top of the right forearm). This will make the Uke drop the sword. Then, twist your hips counter clockwise and either, drop to your right knee and strike to Butsumetsu with Shikan Ken, or, slam the spikes of the Shuko into Butsumetsu (like a slapping motion). Then, throw Metsubushi, then leap away to the left side and use Mokuton no Jutsu – this is to use a tree for concealment and/or to use the tree as a barrier between you and the Uke. Keep your posture high and be ready to throw Shuriken (Zanshin).
Migi Uchi Tonso no Kata (Right Hand Strike Escape and Run Form)
The Uke is in Seigan no Kamae with a sword. Stand in Hachimonji no Kamae or Happogakure no Kamae (left hand forward). The Uke thrusts at you with the sword. At the instant the Uke starts to thrust, push off with the back foot and leap forward to the right (180 degrees to the inside of the Uke). When you land, the left hand grabs the end of the Tsuka (sword handle) and the right hand strikes down to the Uke’s left Hoshi. Pull the sword away from the Uke with your left hand and at the same time, take out Metsubushi with the right. Throw the Metsubushi to the Uke’s eyes and finish by holding the sword in such a way that the tip is pointed towards the Uke and then Zanshin.
Sayu Kumo-gakure no Kata (Left And Right Cloud Hiding Form)
Two Uke’s approach in Dai Jodan no Kamae. Begin in Tonso no Kamae – right hand inside your jacket with two Mets ubushi in your hand. Take the Metsubushi out, place in each hand and stand in Happo-Gakure no Kamae. As both Uke approach, move side to side coaxing the Uke’s closer together. When they are close together, take 2 steps back – and as they move to attack release the Metsubushi towards both of them. Then immediately drop low and pass between them both and strike each of them with Boshi Ken to Butsumetsu. Carry on forwards and escape by doing Naka Gaeshi (from the Shinobi Gaeshi Gata) twice and then use Mokuton no Jutsu – this is to use a tree for concealment and/or to use the tree as a barrier between you and the Uke. Keep your posture high and be ready to throw Shuriken (Zanshin). Note – if there is a thi rd enemy, throw Shuriken at him first to take him out.
Kosei Kiri-gakure no Kata (Achieving Force Cloud Hiding Form)
You are surrounded by 4 enemies. They all have swords and are in any Kamae. You are in Tonso no Kamae. Take out Senban and throw one at each of the enemy to make them flinch. Then take out Metsubushi and scatter it in all directions, then, if necessary, throw more Senban – then escape when you see an opportuni ty using Ukemi/Kaiten and then use Mokuton no Jutsu – this is to use a tree for concealment and/or to use the tree as a barrier between you and the Uke. Keep your posture high and be ready to throw Shuriken (Zanshin).
Hap-po Kiri-gakure no Kata (All Directions Cloud Hiding Form) You are surrounded by 3 enemies to the front, and 2 to the rear.
They all have swords and are in any Kamae. You are in Tonso no Kamae. Take out Senban and throw one at each of the enemy to the front. The 2 enemies to the rear attack in response to this. Immediately throw Metsubushi to the rear. After this drop to 1 knee and throw Senban in all directions until you see an opening. At that moment escape using Ukemi/Kaiten and then use Mokuton no Jutsu – this is to use a tree for concealment and/or to use the tree as a barrier between you and the Uke. Keep your posture high and be ready to throw Shuriken (Zanshin).
TOGAKURE RYU NINJA BIKEN (HIDDEN DOOR SCHOOL NINJA SECRET SWORD)
KIHON (BASICS) Taitou (Carrying A Sword) In the Togakure Ryu there are 3 methods of carrying the sword which are as follows – 1, You carry the sword by attaching it to your back with the Sageo (sword string). This would be used for when you were climbing trees, or when you were crawling underneath low obstacles. Also, it would be carried this way when running long distances or when travelling through woods or thick brush. When wearing the sword on your back, the Tsuka is at your right shoulder to make it possible to draw the sword. 2, You wear the sword at the left hip. This is the normal way to wear the sword and the majority of techniques are done from this position. 3, You carry the sword like a walking stick. This would be used when the sword was concealed within a Shikomi Zue (blade concealed within a walking stick) and normally, it would match a disguise that the Ninja would be wearing.
Koi Kuchi Kiri (Breaking the Carps mouth) This is how to unlock the sword from the scabbard. Normally the thumb is used to push the tsuba to unlock the sword, but this is an indication that you are about to draw the sword, so instead, the Togakure Ryu developed alternative hidden methods for unlocking the sword. 1, Keep your thumb away from the tsuba so as not to indicate drawing the sword, and use your index finger from below to push the tsuba forward to unlock the sword. This will be hidden from the Uke. 2, Press the thumb nail between the tsuba and the mouth of the saya (koiguchi) to unlock the sword.
Iai – Batto You should practice cutting in all directions with Iai Batto.
Katate Nuki (One Handed Draw)
The left hand is on the saya, and the right hand is on the tsuka next to the tsuba.. Pull the saya out of the obi about half way and then step back with the left leg and in the same motion remove the scabbard from the sword by pulling it back. Make sure the cutting edge is face up. Then, let the sword carry on up and over pivoting on the wrist and stop when the tip of the sword is at the Uke’s eyes . This is the basic. As an advanced method, alter the position of the saya to change the angle of the draw. Also, your footwork will depend on your situation, and your surroundings.
Hidari Katate Gyaku Nuki (Left One Handed Reverse Draw) The left hand is on the saya, and the right hand is holding the tsuka next to the tsuba. The left hand changes, and holds the Tsuka instead of the right. Push the tsuka down and rotate the Tsuka clockwise so that the cutting edge of the blade faces out. This is done in one movement. Draw the Sword with the back of the blade (Mune) resting on the outside of the forearm and use the index finger along the tsuka for stability. This is similar to Jodan Uke from the Ukemi Gata of the Kukishin Ryu Bojutsu. The idea of receiving the attack is also the same.
Migi Katate Gyaku Nuki (Right One Handed Reverse Draw) The left hand is on the saya, and the right hand is holding the tsuka next to the tsuba. Rotate the Saya 180 degrees clockwise with the left hand so the blade is down. Change you grip on the tsuka to palm up. Draw the sword with Kesa Giri.
Kiri-Age (Cut Up) This is for cutting to the Uke’s hands from a draw. The basic way of doing this is with Migi Katate Gyaku Nuki. The Uke is in Dai Jodan no Kamae with a sword and you are in Shizen no Kamae with your sword at your hip inside the obi. You prepare to draw with Migi Katate Gyaku Nuki. As the Uke cuts, you draw and cut the Uke’s leading hand with a feeling of stopping it and knocking it up. The important thing here is to keep the hips low as to allow you to counter the attack from below. Also, your timing has to be when you see the Uke’s front hand starting to move. If you are too late, the Uke will cut you.
KAMAE (POSTURE)
Ichi no Kamae (Figure One Posture)
This is a kamae for responding to any changes the Uke makes, so follow the Uke’s movements with this Kamae. There is also the feeling of keeping the Uke at bay with this Kamae. The kissaki (sword tip) is pointed at the Uke’s heart. This gives you a position of safety. Keep your grip on the tsuka loose. Keep your hips low. Extend your arms and lean back slightly. These are the key point for Ichi no Kamae. The feet are approximately 2 ½ to 3 feet apart withabout a 1 to 2 inch gap between. The front foot (right) is angled very slightly to the right. This is not noticeable to the opponent. The back foot (left) points 45 degrees to the rear. Lower your centre of gravity as much as is comfortable (this takes time). Your knees should hide your feet if you are looking down (important point). Make sure the knees are not buckling inwards to take the strain. This will hurt initially but the pain is temporary and, if practiced correctly, will build strong legs. This is an important point. You should lean back slightly with this Kamae. Make sure your backside is not sticking out. This is a common mistake and should be corrected from the start. Your weight should be about 60/40 to the rear. Keep your shoulders relaxed and do not hunch them. The sword is held horizontally, and is held straight out at about shoulder height with a small amount of give in the arms. Keep your neck and head straight and relaxed and pointing towards the Uke. Do not tilt your head to the side. This is a common mistake and should be corrected from the start. Fix your eyes on the Uke. Take all tension out of your body and relax, and remember to keep your grip on the tsuka light.
Seigan no Kamae (Correct Eye Posture)
The intention with this Kamae is to control the Uke with your strategy and make him attack where you want him to. You do this by moving the kissaki very slightly to create openings for the Uke to attack. This is Kyojutsu. You should also have the feeling is of stabbing at the Uke’s eyes if you want to keep him away. Point the tip of the sword so that it is on the line between yours and the Uke’s eyes. Keep your elbows in and hold your left hand near your right hipbone, about 1 fist width away. Keep your grip on the tsuka loose.
The feet are approximately 2 ½ to 3 feet apart withabout a 1 to 2 inch gap between. The front foot (right) is angled very slightly to the left. This is not noticeable to the Uke. The back foot (left) points 45 degrees to the rear. Lower your centre of gravity as much as is comfortable (this takes time). Your knees should hide your feet if you are looking down (important point). Make sure the knees are not buckling inwards to take the strain. This will hurt initially but the pain is temporary and, if practiced correctly, will build strong legs. This is an important point. Your back is straight with this Kamae. Make sure your backside is not sticking out. This is a common mistake and should be corrected from the start. Your weight should be about 60/40 to the rear. Keep your shoulders relaxed and do not hunch them. Point the tip of the sword so that the kissaki is on the line between yours and the Uke’s eyes. Keep your elbows in and hold your left hand near your right hipbone, about 1 fist width away, and the right hand should hold the tsuka with the feeling of just hooking the underneath of the tsuka with your fingers. This is an important point. Keep your neck and head straight and relaxed and pointing towards the Uke. Do not tilt your head to the side. This is a common mistake and should be corrected from the start. Fix your eyes on the Uke. Take all tension out of your body and relax, and remember to keep your grip on the tsuka light.
Chudan no Kamae (Middle Level Posture)
The intention with this Kamae is to drive the kissaki through the Uke’s heart, and at the same time, you hold a feeling of drifting in space. The tsuka follows the line of the right forearm. The only difference between this Kamae and Seigan no Kamae is your left hand raises slightly to place the kissaki towards the Uke’s heart. Other than that, all the points are the same.
Gedan no Kamae (Lower Level Posture)
This Kamae is done with a feeling of making the Uke stop or hesitate with the intention to stab the Uke’s foot at the Kyusho
called Toki. Keeping the weight slightly further back is important in this Kamae. From Chudan no Kamae, keep the left hand in the same position and lower the right hand so that the kissaki points to Toki on the Uke’s foot. Stare the Uke firmly in the eyes. Apart from these differences, the kamae is the same as the previous.
Tosui no Kamae (Water Ridge Posture)
From Gedan no Kamae, switch feet so that the left foot is in front and shift your weight forwards. The tip of the sword is as in gedan, with the left knee just covering the left foot. The weight is mostly on the lead foot. Offer your left shoulder towards the Uke inviting an attack. You should put no intention forward and hold a feeling of caution as if you were standing on a sheet of thin ice. You should allow this feeling to spread out all around you whilst keeping your nerves on edge. This is so that you can determine what attack the Uke is going to make. Don’t fix your stare, instead, use your peripheral vision. If you find this difficult, then stare at the Uke’s forehead. In doing this, the Uke will not be able to determine what you are going to do. Apart from these differences, the principles of the Kamae are the same as Gedan no Kamae.
Hasso no Kamae (Eight Phase Posture)
Build your intent the way energy builds up during a storm with the feeling of striking down the Uke in one instant, the same way a bolt of lightening strikes from heaven to earth. Point the kissaki at the heavens and keep your right hand next to your right ear. The left and right hands hold the sword very lightly, as if you were just keeping the sword steady. The left foot is forwards and the right foot points to the right. The feet should be about 30 to 40 centimetres apart. Your body is upright. You should drop your hips slightly and keep your shoulders relaxed, and do not hunch them. Take all tension out of your body and relax, and remember to keep your grip on the tsuka light. Your neck and head are straight and relaxed and pointing towards the opponent. Do not tilt your head to the side. This is a common mistake and should be corrected from the start. Fix your eyes on the Uke.
(This can easily become Dai Jodan no Kamae also).
Kasumi no Kamae (Mist Posture)
This is a Kamae of Kojitsu. Stare vacantly at the Uke’s forehead so as to hide your true intentions. Your Kamae for this is similar to Seigan no Kamae from the waist down, only your weight should be central. The sword is held horizontally above the head, with the tip pointing to the left if the left foot is forward or the right if the right foot is forward. The sword should be held about head height. Make sure that your arms do not obscure your face. At most, they should just cover the chin. Apart from these differences, refer to Seigan no Kamae for the finer points of this Kamae.
Totoku Hyoshi no Kamae (Sword Hiding Catapult Form Posture)
This Kamae means to respond to an enemy that you cannot see. The intention is to hide your body behind the width of the blade and to remain still. This Kamae is to deflect shuriken or arrow attacks, and will protect your vital points. Use peripheral vision instead of looking directly at one spot. It is important not to worry about being hit, as if you do get hit, then it is very unlikely that the wound will result in death. To do this Kamae, kneel on the left knee, on your toes (do not flatten the foot). The right knee is towards the Uke. Hold the sword out to your centre with the right hand, the edge of the sword should be facing to the right. Keep your shoulder back to protect it and your back hand should be at your left hip. Keep your back, neck and head upright with a feeling of hiding behind the blade.
NINJA BIKEN NO KATA (NINJA SECRET SWORD FORMS)
Hi-Ryu no Ken (Flying Dragon Sword) This techniques name refers to the way a mythical dragon circles through the air. This technique is to spin the Uke’s sword up and then to cut him.
The Uke faces you in Seigan no Kamae, and you begin in Ichi no Kamae. Lunge in and knock the Uke’s sword to the left to take it off-line. While keeping contact with the sword make 3 large circles counter-clockwise (this is called Maki Age), using the body, knees and arms to compensate for the short length of the Togakure blade. At the end of the third circle, flick the Uke’s sword away using the momentum that you have created. This will put the Uke off balance, and at that point, cut with Kesa Giri or Do Giri, attacking the Uke’s right side. Repeat this on the other side also, knocking the sword to the right, making three circles clockwise and finishing with a cut to the Uke’s left side. This is the form. In a real confrontation, it would be one circle and then cut. The important point is to learn how to flick the Uke’s sword away and to cut within the same movement. It is also important to learn how to use the back of the blade when making the circles, to avoid damaging your cutting edge.
Kasumi no Ken (Mist Sword) This techniques name means that your sword movements are a haze to the Uke.
Begin in Ichi no Kamae. The Uke begins in Daijodan no Kamae. The Uke attacks with Kara Take Wari. Receive by striking upwards to the left or the right with the back of the blade. This is called Hane Age. Do not pull the blade back too far when you do this, or you will be cut. The area of the Uke’s blade that you strike is about half way down the blade. Then cut to the Uke’s neck. Repeat this three times for the form. The footwork is as follows – Uke cuts – right step forwards to right with left H ane Age – left step forwards to the left and cut to Uke’s right side neck – Kamae – Uke cuts – left step forwards to the left with right Ha ne Age – right step forwards to the right and cut Uke’s left side neck – Kamae - Uke cuts – right step forwards to right with left Hane Age – left step forwards to the left and cut to Uke’s right side neck – Kama e. This is the form. The important point here is do not make the sword movements too big. Keep your sword movements small and you will avoid being cut.
Muso no Ken – (Ura Nami) (No Thought Sword – (Inlet Waves)
This techniques name means to move naturally without showing any intention. This technique is for knowing what to do when your sword has been deflected by the Uke. Begin in Gedan no Kamae. The Uke begins in Seigan no Kamae. You then Tsuki past the Uke’s hands to his stomach. This should be very hard for the Uke to counter. The Uke deflects your sword to the side. You respond to this by letting go of all strength in the sword and allowing the Uke to successfully knock your sword to the side. You then respond by cutting with Gyaku Kesa Giri. The form is as follows –
You Tsuki – Uke deflects your sword to the left – Yoko Aruki forward and to the right with the left foot – Gyaku Kesa Giri starting at the Uke’s right hip. You Tsuki – Uke deflects your sword to the right – Step forward and to the left with the left foot – Gyaku Kesa Giri st arting at the Uke’s left hip. As strategy it is important to know how to make the Uke block to the side that you want him to if you so wish. If you thrust slightly to the Uke’s right side, he will deflect the right side of your sword. If you thrust lightly to the left, he will deflect the left side of your sword. It is important to allow the Uke to deflect and then cut with Gyaku Kesa Giri as quickly as you can, so the Uke has no time to cut.
Dakai No Ken (Striking And Felling Sword)
The point of this technique is to deflect the Uke’s attack upward with Hane Age and to cut whilst walking. Begin in Gedan no Kamae. The Uke begins in Seigan no Kamae. The Uke changes to Daijodan no Kamae. As the Uke cuts in with Kara Take Wari, receive by striking upwards to the left or the right with the back of the blade (Hane Age). Do not pull the blade back too far when you do this. Then move around the Uke using Yoko Aruki and cut the Uke’s neck from behind. This is the form for both sides –
You are in Gedan no Kamae – Uke is in Seigan no Kam ae – Uke changes to Dai Jodan no Kamae – Uke cuts in with Ka ra Take Wari – You step to the right with the left foot in the manner of Yoko Aruki and then Hane Age – You keep moving in this manner until you are behind the Uke enough to cut to the Uke’s neck. You are in Gedan no Kamae – Uke is in Seigan no Kam ae – Uke changes to Dai Jodan no Kamae – Uke cuts in with Ka ra Take Wari – You step to the left with the left foot and then Hane Age – You keep moving in the manner of Yoko Aruki until you are behind the Uke enough to cut to the Uke’s neck. The important point here is to control the Uke’s elbows with your own. Do not let the Uke counter-attack. Also, keep your sword
in a position where you can cover yourself against a counter attack if necessary (similar to Kasumi no Kamae). This was a special method of using the sword that was developed by the Togakure Ryu due to the length of the sword. It was also a method of defeating a superior swordsman by taking away their ability to attack. Remember, this technique is one continuous movement. Even though you are moving in Yoko Aruki, it is important to keep your upper body facing the Uke at all times.
Issen Ken (A Sword Flash) This technique means to knock down the Uke’s sword and cut in an instant, like a flash of light. There are 2 forms.
Begin in Seigan no Kamae. The Uke begins in Seigan no Kamae. You then tsuki to the Uke’s face. The Uke deflects your sword to the left or the right (remember, you can manipulate which side the Uke deflects to). If he moves to your left and deflects, then you use Yoko Aruki with the left foot forward slightly to the right and use the back of the blade by turning the wrists counterclockwise and press the Uke’s sword down to the left. Use your right hand as a pivot for this movement and the left hand to lever, and use your body weight also. If you try to do this with just your arms, the Uke will over power you – so Taijutsu is essential. This must be done in i mmediate response to the Uke’s deflection. After this, step forwards slightly to the right with the right foot and cut to the right side of the Uke’s neck with a feeling of rushing past his left hand side. If the Uke moves to your right and deflects, then the technique is the same, only, step forwards to the left with the left foot and press the Uke’s sword down, and then move off and cut to the Uke’s left side throat with Yoko Aruki. This is the first form. The second form’s taijutsu is different. Begin in Seigan no Kamae. The Uke begins in Seigan no Kamae. You then tsuki to the Uke’s face. The Uke deflects your sword to the left or the right. he moves to your left and deflects, then you bring your left leg forwards and slightly to the right and bring your left hand up and rotate the tsuka clockwise so that the position of the sword is following the line of your right forearm and the blade is flat with the cutting edge facing behind you. The side of the blade now
acts as a shield between this movement and the next. This is important. Next, move with Yoko Aruki forwards with the right foot and turn your body slightly to the right. From this position, cut down to the back of the Uke’s sword with the back or the side of your blade with the feeling of pounding the Uke’s sword down (this is important). From here, step forward with the left foot and cut to the left side of the Uke’s neck with a feeling of rushing past his right hand side. If the Uke moves to your right and deflects, then the technique is the same, only, step forwards to the right with Yoko aruki with the left foot, and bring the right foot around 90 degrees counter clockwise (you should be standing with the Uke’s sword side on and in front of you) – let the tsuka rotate in your right hand to enable you to strike with the back/side of your blade (you must learn this movement well, it may be a bit confusing at first, but when you get it, it will be very effective) and then move off and cut to the right side of the Uke’s throat with the left foot in Yoko Aruki with the feeling of rushing past him. For both forms, it is important to remember the ‘rh ythm’ of these forms – Tsuki – Press or Pound Down – Cut. Your Ta ijutsu should be in 3 movements – try to understand this well.
Rai-Ko no Ken (Lightning Sword) This techniques name means to use the sword the same way a bolt of lightning strikes. This technique can be a 2 man technique or can be done as a solo form. It teaches correct cutting methods. What is important with this technique is the way you turn your wrists over whilst moving from one cut to the other. It is also said that this technique was used by the Togakure Ninja for moving through a crowd. Another important point is to keep your hips low from the first cut onwards. Do not let your body move up and down when doing this. Do not grip the tsuka when doing these movements – at the point of cutting, have the feeling of wringing out a wet cloth with your hands on the tsuka. This is the correct way to cut. And make sure all of your cuts are straight and free of tension. It is important to remember to stop the cut at the point that it would have exited the Uke’s body – don’t keep cutting as this will leave you open. There are 7 cuts. The sword cuts are in the following order: Hidari Kesa Giri – Migi Do Giri - Kara Take Wari - Hidari Kesa Giri Migi Kesa Giri - Hidari Gyaku Kesa Giri - Migi Gyaku Kesa Giri.
Begin in Hasso no Kamae with the left foot in front. Step forwards with the right foot and cut Kesa Giri – pull the ri ght foot back and turn the sword over to the left so that your wrists are crossed, right wrist on top. With the left foot forwards, cut with Do Giri. Pull the left leg back and you do either one of 2 movements – 1, bring the sword to your right hand side by turning the sword over clockwise and bringing your left wrist to a point just above the forehead – the sword should follow the line of your right forearm. 2, as you pull back with the left leg, turn the sword over to the left and bring the right wrist to a point just above the forehead – th e sword should follow the line of your left forearm and your wrists should be crossed. With these 2 movements, your arms/hands do not cover the face. From either of these 2 positions, step forwards with the right leg and cut Kara Take Wari – pull the right leg back and tu rn the sword over to the left and bring the right wrist to a point just above the forehead – the sword should follow the line of your left for earm and your wrists should be crossed. Step forwards with the right foot again and cut Kesa Giri. Pull the right leg back and bring the sword to your right hand side by turning the sword over clockwise and bringing your left wrist to a point just above the forehead – the sword should follow the line of your right forearm. Step forwards with the left foot and cut Kesa Giri. Pull the left foot back and turn the sword over and back to the right – your right hand should be by yo ur right hip with the sword at a 45 degree angle behind you towards the floor. Step forwards with the right foot and cut Gyaku Kesa Giri. Pull the right foot back and turn the sword over to the left of your body with your wrists crossed at your left hip. Again the sword should be about 45 degrees to the floor behind you. Lastly step forwards with the left foot and cut with Gyaku Kesa Giri. And back to Hasso no Kamae with the left foot in front.
Itto Nage (One Sword Throw)
The techniques name means to throw your sword. This technique is for when you are in a desperate situation of which there is no other way out, and you have to take a life. There is no real form to this technique – and it is to be practiced from all of t he Kamae. The optimum distance to throw your sword effectively is about 6 metres away from the target. The idea is to throw the
sword straight ahead. You should practice against an inanimate object and concentrate on when is the best point to release the sword to make it fly straight at the target. It is the same principal as Shurikenjutsu.
To clarify, if you are in Gedan no Kamae or Tosui no Kamae, you throw from where the sword position is – so you throw the swor d up and out. If you are in Seigan no Kamae, Chudan no Kamae or Ichi no Kamae, then it is more like throwing it straight out. Hasso no Kamae is almost like cutting and letting go at the optimum time. Kasumi no Kamae would be to throw the sword in a similar manner of doing a Shuto fist strike. You get the idea. This technique requires long practice, and also requires good Taijutsu.
Itto Giri (One Sword Kill)
This technique means to cut down the Uke with one cut. You start in Seigan no Kamae, the Uke is in Dai Jodan no Kamae. The Uke cuts down. The idea of this technique is to let the Uke’s attack sail past your right side as you step forwards to the left with the left foot with a feeling of brushing past him – do not stop his attack, this is an important point of this technique. As you evade, slice the Uke’s side with a stabbing motion by turning your wrists slightly anti-clockwise to present the edge of the blade to the Uke’s side, and don’t stop until you are clear of the Uke. If you wish, you can also turn the blade over so that the tsuka is in front and slice the Uke’s side with a feeling of pushing the blade through, and using the sword in the crook of your right arm to help the push. It is important to have your elbows at a distance so that if you need to control the Uke, you can, but do not stop the Uke with your elbows – remember , the feeling of brushing past him, not stopping him. The other way of performing this technique is to drop to your left knee as the Uke cuts, then turn your wrists counter-clockwise and cut with Gyaku Kesa Giri – then stand up immediately an d continue to thrust through the Uke as in the last form. This variation could be used if it is not possible to run straight past the Uke – maybe there is an obstacle in the way. So by dropping to the knee and cutting with Gyaku Kesa Giri, you are moving the Uke to your right side to prepare for the finish.
This technique would be useful for fighting multiple enemies.
Kiri Kaeshi (Returning Cut) The name of this technique means to counter cut. This technique is to match the Uke’s cut with a thrust to his eyes to make him flinch, then to observe his next move before returning the attack. The Uke can start in any Kamae. The point is at the instant the Uke begins to cut, thrust to his eyes with Kiai to make him hesitate.
If he does nothing, then tsuki through the eyes – if he shifts to either your left or your right, then step in with the left foot and cut with Do Giri to the Uke’s right side, or step forwards with Yoko Aruki with the left foot and cut with Do Giri to the Uke’s right side and carry on moving past the Uke.
This all depends on where the Uke moves, and your decision on the best position to cut the Uke. The important points are to stop the Uke with a Kiai and a tsuki to the eyes, and then to wait to see his next move before you respond.
Sute-Mi (At the risk of ones life)
The technique means to hold the intention of sacrificing your own life. This technique is used for when you are faced with many enemies. The strategy here is to make the strongest looking person or the boss think that you are attacking them, and then quickly change to attack the weakest looking one – if you are circled, then this becomes the weakest area in the circle. You begin from Shizen no Kamae. Face the boss/strongest man and do Kiri Kaeshi (previous technique) but instead of finishing the technique, turn to cut down the weakest enemy with any of the techniques that you have learned. Issen Ken or Datou no Ken are best for this. This is a strategy more than a technique, however, it is an excellent way to practice flowing from one technique to another. Remember, the point of this technique is not to get caught up in a sword fight, the point is to escape.
Metsubushi (Eye Crush)
The Metsubushi is made by removing the contents of an egg by piercing the top and bottom and blowing the contents out. The egg is the half filled with things such as iron filings, ground chilli, ground pepper and various abrasives – this would have depe nded on what the Ninja had available to him at the time. The Metsubushi was also kept in the bottom of the Ninja-To Scabbard. The first technique means to make the Uke flinch by using Metsubushi, and then to cut the Uke down. Begin from Shizen Tai with the left foot forward with the sword un-drawn. The reason for standing like this is so that the Uke cannot see you removing the Metsubushi from your jacket. At the moment the Uke attacks, crush the egg in your hand and throw the Metsubushi – pal m up - so that it creates a belt of Metsubushi in the air. Then, you must wait for the perfect opportunity to either attack the Uke with any of the techniques that you have studied, or to escape with Goton no Jutsu. (there will be a separate Densho on this subject – it is too vast to go into here).
The second methods is as follows: After removing the Metsubushi, transfer the Metsubushi to the left hand – and draw the sword with the right hand. Stand in Daijodan no Kamae with the Metsubushi in the left hand. Throw as in the last technique but with the palm down. The rest is the same. For the third technique, you stand in Kocho no Kamae (posture the same as in Ichi no Kamae, sword is in the left hand similar to Kasumi no Kamae, but with the tip of the sword pointing to the Uke’s eyes. The Saya (scabbard) is held at about 2/3 the way down straight in front of you at a slight angle - the Koiguchi slightly higher than the base of the Saya. If there is 1 or 2 enemies in front of you, Make an arc as though cutting with the Saya to create a belt of Metsubushi in front of the enemies and then either attack with any of the techniques you have learned, or escape with Goton no Jutsu. If you have one enemy to the front and one enemy to the rear, create a belt of Metsubushi to the front and cut, then, create a belt of Metsubushi to the rear and either cut or escape with Goton no Jutsu. These last techniques are called Itto Ryudan (Cutting the Gordian Knot). Remember, the important point of using Metsubushi is to wait until the Uke is about to attack – his eyes will be at th eir widest at that point. Also be aware of the direction of the wind before using these techniques – position yourself with the wind at you r back. – This is the use of Tenmon (Heaven’s strategies).
Kage no Itto (Shadow of a Sword)
This technique is for drawing the sword when there is either an obstacle or a person between you and the Uke. It was also used for when the Ninja wanted to draw the sword in a narrow space, or when the Ninja was against a wall. Drawing in this way will keep you hidden and in the shadows. This is used as a strategy in this method. Please keep this in mind when training this technique. You begin from Shizen Tai. Step to the left and pull the Saya sword out to the left with the left hand. Then, push the Saya to the right across your small of your back with your left hand, so the tsuka is to the right with the tsuba by your right hip. Place your right palm onto the tsuka with the palm facing back. Turn the tsuka 360 degrees clockwise (use the skin between your thumb and index finger called Yahazu for this – do not grasp the tsuka) and bring the sword up over your right shoulder to draw and cut. This requires a great deal of flexibility in your wrists, so please bear this in mind when training – there is no way around it, so
concentrate on gaining flexibility lexibility in your wrists.
Ninja Iai (Ninja Sword Draw)
The point of this technique is to suddenly cut the Uke taking advantage of your shorter blade. You begin from Shizen-Tai Shizen with the right foot forwards. You let the Uke begin to draw first. At that instant, you draw and cut to the Uke’s wrists in a flash. How you do this is dependant on the distance. If the Uke is not close enough for you to cut, step in with the right foot – if the Uke is close enough, step back with the left foot – if the Uke i s too close, use the end of the tsuka to smash his hand or elbow. When you have cut to the wrist, press down with your right hand on the back of the blade and press the Uke to the floor to control the Uke – also hook the Uke’s wrist with your fingers. Thi s is a part of Tai Wari Itto (the final technique in the densho). This, along with smashing into the Uke’s hand with the end of the tsuka are methods of Koppojutsu. For Iai, you can also drop to the left knee to cut underneath the Uke’s wrist.
TE NO UCH UCHI (HANDS INSIDE) Means to manipulate the sword in your hand or to cut / control the Uke without fully drawing the sword You begin from Shizen Tai. The Uke begins from any Kamae. There are 12 of these forms to teach what Te no Uchi is.
Sono Ichi (Number 1) Begin in Shizen Tai. The Uke begins in Daijodan no Kamae. As the Uke cuts with Kara Take Wari, move in slightly to the right and partially draw the blade with the left hand so the Uke’s left arm will be cut as he swings his sword down. Change hands on o
the tsuka to your right hand and grab the Uke’s wrist with your left hand at the same time. The blade still cuts into his arm. Take the Uke to the floor in an anti-clockwise manner by controlling the wrist and creating pressure / pain with the sword. Finish in a kneeling position next to the Uke and return the sword to the saya. Be ready to strike to the head with the tsuka. Zanhin
Sono Ni (Number 2) You begin in Shizen Tai. The Uke begins in Daijodan no Kamae. As he Uke cuts with Kata Take Wari, move forwards slightly to the right and draw the blade with the right hand so the Uke will be cut as he swings his sword down. The rest of the technique is the same as the last.
Sono San (Number 3) Begin in Shizen Tai. The Uke begins in Daijodan no Kamae. As the Uke cuts with Kara Take Wari, move in slightly to the right and partially draw the blade with the left hand so the Uke’s left arm will be cut as he swings his sword down. You then re-sheath the sword and control the Uke’s right wrist with your left and strike up to the Uke’s chin with the right palm – this will twist th e Uke’s neck to help throwing him to the ground. As the Uke falls, keep control of his right hand – you can trap the Uke’s hand between yo ur hip and your Saya., and prepare to strike the Uke’s head with the tsuka-gashira if he resists. Zanshin.
Sono Yon (Number 4) You begin in Shizen Tai. The Uke begins in Dai Jodan no Kamae. The Uke cuts with Kara Take Wari. You shift with the left foot forwards to the left and strike down to the Uke’s right wrist with the tsuka. Then, place your left foot behind the Uke’s right foot and force the Uke’s leg to the floor with your leg. When the Uke is down, switch knees to your right knee and place it onto the Uke’s leg to pin him. Lastly, prepare to strike the Uke’s head with the tsuka-gashira if he resists. Zanshin.
Sono Go (Number 5) You begin in Shizen Tai. The Uke begins in Seigan no Kamae. As the Uke thrusts with the sword, step out to the left side and strike the top of the Uke’s right hand with the tsuka. Finish by stepping into the Uke’s right side and thrust the tsuka-gashira to the Uke’s right side Butsumetsu. Zanshin.
Sono Roku (Number 6) You begin in Shizen Tai. The Uke begins in Dai Jodan no Kamae. The Uke cuts with Kara Take Wari. You shift with the right foot forwards to the right and strike down to the Uke’s left wrist with the tsuka, making the left hand release it’s grip. You the drop to right knee and hold the Uke’s right hand with your left hand, and at the same time, grab the Uke’s right calf muscle with your right hand. Press the Uke’s right hand outwards and down to take the Uke to the floor face up (do not pull the Uke’s leg for the take down). Pin the Uke with your right knee and apply your weight through the knee to pin the Uke – from take down to pin must be seemles s. Keep pressure on the Uke’s right hand and use your left hand to strike the Uke with the tsuka-gashira if he resists. Zanshin.
Sono Shichi (Number 7) You begin in Shizen Tai. The Uke begins in Dai Jodan no Kamae. The Uke cuts with Kara Take Wari. You shift with the right foot forwards to the right and strike down to the Uke’s left wrist with the tsuka, making the left hand release the grip. Then you grab the Uke’s left wrist with your left hand and turn the body counter-clockwise to bring yourself side on to the Uke. Take the Uke’s own Saya with your right hand and place it onto his elbow to apply pressure. Take the Uke to the ground in a counter-clockwise motion and pin him with your right knee. Lastly, prepare to strike the Uke’s head with the tsuka-gashira if he resists. Zanshin.
Sono Hachi (Number 8) You begin in Shizen Tai. The Uke begins in Dai Jodan no Kamae. The Uke cuts with Kara Take Wari. Step forwards with the left foot slightly to the left and strike upward with the tsuka to the Uke’s left wrist. Then, take the Uke’s wrist with your right hand to your right hip and the tsuka of your sword on the Uke’s elbow for a lock. You then drop to your left knee and drop the Uke face down to the floor. From this position, you maintain control over the Uke’s right arm and prepare to strike the Uke’s head with the tsuka-gashira. Zanshin.
Sono Ku (Number 9) You begin in Shizen Tai. The Uke begins in Dai Jodan no Kamae. The Uke cuts with Kara Take Wari. Step forwards and to the right with the right foot and strike the Uke’s right wrist from below by striking upwards with the tsuka (left holds tsuka). Change you grip with your left hand from the tsuka to the Uke’s left wrist, and catch the Uke’s left elbow with your right hand. In a counter clockwise motion, press the Uke to the floor and pin him with your right knee to his side, and his left wrist at your left hip. Lock the Uke’s elbow with your right arm. If the Uke struggles, be ready to draw your sword by holding the Uke’s arm and your own saya with your left hand, and drawing and striking the Uke’s head with the tsuka-gashira. Zanshin
Sono Ju (Number 10) You begin in Shizen Tai. The Uke begins in Dai Jodan no Kamae. The Uke cuts with Kara Take Wari. You step forwards with the right foot and drop down onto the left knee and strike with the tsuka to Suigetsu – make sure that you are close enough, not allowing the Uke a chance to cut again. Rise up immediately and catch the Uke’s left arm and throw with Seoi Nage over your right side – you need to keep awareness on the Uke’s sword. Maintain control of the Uke’s left arm. Keep pressure on the Uke’s left hand and use your left hand to draw and strike the Uke to the face with the tsuka-gashira if he resists. Zanshin.
Sono Ju Ichi (Number 11) You begin in Shizen Tai. The Uke begins in Dai Jodan no Kamae. The Uke cuts with Kara Take Wari. You step forwards with the right foot and drop down onto the left knee and strike with the tsuka to Suigetsu – make sure that you are close enough, not allowing the Uke a chance to cut again. Rise up immediately and catch both of the Uke’s arms locking them against your left shoulder. You then throw the Uke and keep control of the Uke’s hands / arms throughout this movement. Finish by pinning the Uke’s hands / arms with your right knee, and prepare to strike the Uke’s head with the tsuka-gashira if he resists. Zanshin.
Sono Ju Ni (Number 12) You begin in Shizen Tai. The Uke begins in Hasso no Kamae. As the Uke cuts with Kesa Giri, Yoko Aruki slightly forwards and to the right with the left foot and thrust the tsuka into Suigetsu. Zanshin.
SAGE-O NO KATA (SWORD STRING FORM) The Togakure Ryu uses a small iron weight (fundo) attached to the end of the Sageo. This was used as a form of Metsubushi when it was used for fighting. There were countless other applications for this as I am sure you realise (for when the Sageo is used as a rope). It was also common for the Sageo to have an egg filled with Metsubushi attached to the end of it. For these reasons, the Sageo was usually concealed inside the jacket. The Saya was also used as a form of Metubushi.
Sono Ichi (Number 1) You begin in Shizen Tai. The Uke begins in any Kamae. Place the Sageo in your right hand The Uke begins to attack. At the point of attack (same principal as in the technique ‘Metsubushi’) you throw the Metsubushi that is attached to the Sageo at the Uke’s
eyes. At the instant the Uke flinches, you draw your sword and cut.
Sono Ni (Number 2) For this technique, you tie the end of the Sageo to your Obi. This is so when you use the Saya as Metsubushi, you can recover it. You begin in Shizen Tai. There are 2 Uke’s – one i n front, one behind – they are in any Kamae. Remove the un-draw n sword from the Obi in your left hand. With Kiai, cut to the Uke nearest you, then, turn and throw the Saya to the second Uke’s eyes as Metsubushi. Then, you leap and cut the second Uke.
Tai Wari Itto (One Sword Body Cut)
The name if this technique means to cut using your whole body. This is more a way of thinking as a strategy rather than a written technique. It is depends on where your cut lands as to what technique you use – this will pretty much determine what form Tai Wari Itto will take. This technique is to use Tai-Sabaki, to use your body to cut with the sword that has already cut into his body, so it is either with a feeling of throwing, dropping or choking the Uke at this point to obtain maximum damage and to remove your sword from the Uke. You can use your hand on the back of the blade to ‘push’ th e cut down, or your fingers against the wrist to help the blade bite into the Uke’s wrist. As previously mentioned, this is Koppojutsu.
TOGAKURE RYU TONKO NO JUTSU (HIDDEN DOOR SCHOOL ESCAPING FORMS) Mokuton no Jutsu (Wood Evasion Art) This is the strategy for hiding oneself in bushes and /or behind trees. Then either attack, the enemy or escape, using the brush for concealment. The principles of Mokuton include:
Using the contrast between sunshine and shade created by brush or grassland, wearing brush, leaves or grasses, capturing the enemies attention by using brush and grasses to make distracting noises and movements, simulating a person hiding in the brush.
Gisou no Ho (Camouflage Method)
This is a method of concealment by using the surrounding plant life to evade, escape or infiltrate. You must observe what kind of plant life is ‘normal’ for the area in which you need to hide in (the more dense the area is, the better). The method is to tie a Tatsuki (cord) or your sword Sageo around your body and shoulders in order to attach undergrowth, leaves, branches and flowers (depending on the type of undergrowth) vertically into the Tatsuki (insert the foliage to both front and back of your body). Pay particular attention to breaking the line of your shoulders. This will make your form harder for your enemy to see. The main point is to only use plant life from where you intend to hide. If you move from there to an area with different plant life, you must change it to this. Also, do not use a lot of different types of plant life as it will make you easier to spot.
Uzura Gakure no Ho (Crouch And Hide Method) This is the method used for blending in with the surrounding plant life and then attacking your enemy by leaping out close to him and cutting him down using the element of surprise. Firstly you need to use Gisou no hou. You need to be as close to the edge of the undergrowth as possible for this method to be effective – if you make too m uch noise leaping out from the undergrowth, you will give your enemy time to respond. You should wait for your enemy to be at a close enough range for you to effectively surprise him and cut him down.
Metsubushi no Ho (Eye Crushing Method)
For this method you need to cut a branch (about 4 foot) from a tree, a bamboo or a thorn bush. Hold it behind you in your left hand (allow it to touch the ground) and hold your sword in your right hand. As the enemy approaches keep the branch behind you and your sword to the front – approach with caution. When you are at a distance where both swords are nearly touching, bring the branch forward in a whipping motion straight across the enemy’s eyes – when the enemy flinches, either finish him with Bikenjutsu or escape to the rear.
Gi Hen Mokuton no Ho (Deceptive Tree Evasion Method)
This is a method of causing a distraction for escape, evasion or attack by shaking the branches of a tree to make the enemy think that you are there. In this method you can use a kamayari to shake the branches of a tree so that you make the enemy think he has discovered you. Alternatively, you can attach a rope to the branch and attach a wild animal to the other end of it. As the animal tries to escape, the branch will move thus making the enemy believe that you are in the tree. For added effect, you can also place your jacket in the tree so as to make the enemy investigate further and buy you more time.
To Boku Gi Hen no Ho (Falling Tree Deception Method)
This is a method of crushing your enemy by making logs or bamboo fall on top of him. You can also topple them to create a distraction to aid escape, evasion or infiltration. There are many applications of this – but to mentio n a couple, you stack heavy bamboo poles or logs at the side of a path that you know your enemy will be using, and when he is parallel with them, topple them onto him by pushing them over from a high vantage point. Or, tie heavy bamboo poles or logs to a roof or a high bank – when discovered by a pursuing enemy, cut the rope to make them fall towards the enemy and aid your escape.
Katon no Jutsu (Fire Evasion Art) Katon no jutsu is a way of capturing the sight and attention of the enemy by creating natural fires from the combustion of various natural substances, including powders, grasses, oils and so fourth, then attacking from unexpected directions or escaping. In the Togakure Ryu, ninja warriors usually carried black powder made from kiribai (paulownia wood ash) and sulphur. The powder was mixed in proportion to the strength and amount needed to accomplish the task at hand. When the ninja employed their black powder mixes, they frightened their enemies by throwing black powder mixes directly at them, setting fire to grasses, brush and trees, and throwing powder mixes into hibachi charcoal braziers or furnaces. When the mixes exploded, they took the enemy by surprise during which time the ninja warriors made sudden attacks, hid themselves in the moats of castles, on the roofs of houses, in trees, or under the floor.
The most important factor tor to bear in mind when employing katon no jutsu tactics is the weather, especially meteorolgical conditions such as wind and rain.
Hizeme no Ho (Fire Attack Method)
This is a method of trapping and killing your enemy by surrounding him with fire. First, rst, the Ninja prepares the area with the combustible materials to light and create the fires – this must be hidden from plain sight. The strategy depends on the situation – so, if the Ninja was being pursued, the idea would be to lead the enemy to the area ar that the trap had been placed, the Ninja would then hide on the outer rim of the area and when the enemy/enemies entered the area, the Ninja would light the combustible materials. The fire would quickly surround the enemy and kill him. If the enemy escaped ped the fire, the Ninja would cut him down. If the situation was that the Ninja wanted to kill an enemy using this technique directly, then the trap would be laid on a path p that the Ninja knew was going to be used by his enemy – the rest i s the same. Thee direction of the wind is a very important factor to consider in this technique – also important is being aware of potent ial
rain. This will covered in another volume ‘Tenmon Chimon’.
Netto no Ho (Boiling Water Method)
Again, as with most methods, this depends on the circumstances in which the Ninja finds himself in. The idea is to stop you enemy in his tracks by throwing or pouring boiling water (or oil) onto him. The Togakure Ninja would keep pots of water/oil boiling – if they were at camp, then high ground was preferred, with this advantage, if they were discovered and attacked, they could pour the boiling liquid onto, or throw the liquid at the enemy. If the Ninja wanted to create an escape route, then pots of boiling water could be placed under slow burning fires at a high point and used in the same way to slow the pursuit and injure the enemy. If the Ninja was defending a castle wall, the same principle would be used to prevent the enemy from approaching or climbing the castle walls.
En Maku Kaku Ran no Ho (Smokescreen Disturbance Method)
In this method, water is poured onto a fire to create a smokescreen to aid escape, evasion or infiltration. As we have already discussed, the Ninja would boil liquid on a fire. If the Ninja wanted to create a smokescreen, the wind direction would be observed, then the Ninja would position himself so that the wind was blowing in the correct direction (i.e. if the wind was blowing towards the enemy, then that was preferable), and then the water would be poured onto the fire to create the smoke. Another method for creating smoke was to burn dry grass.
Oni Bi no Ho (Fire Demon Method)
This method used superstition as an advantage – Jap anese people hold the belief that the spirits of the dead float in the air. So this method was used to make people believe that certain areas were haunted. The Ninja would soak lengths of cloth in oil and then bind them to lengths of bamboo that could either be carried, staked in the ground or hung from trees. When lit at night, they would look like floating fire balls (fire demons).
Soku To Ki no Ho (Breath Attack Tool Method)
The Soku Toki was a small box with Metsubushi mixed with burning charcoal (blinding powder) inside it – the Ninja bl ew into the one end and the powder would be released out of the other end towards the enemies eyes. This was also used by the Edo period police.
The Ninja would sometimes use a red Oni (demon) mask in conjunction with this to create fear and also to create the illusion that the demon was breathing fiery smoke. Again, the Ninja had to determine wind direction to use this technique effectively.
Doton no Jutsu (Earth Evasion Art) Doton no jutsu is the method of using the terrain and its features as tactical advantages. Ninja made sudden attacks from uneven terrain, and threw mud or stones instead of shuriken to blind and distract the enemy. Often, ninja warriors would throw rocks or stones in the opposite direction of their path of travel as a distraction.
Metsubushi no Ho (Eye Crushing Method) This method is to use dirt as Metsubushi by either kicking it up at your enemies face or grabbing handfuls of dirt and throwing it at your enemies’ eyes. This is done to aid escape, evasion or infiltration. If you wish to kill your enemy, it is preferable to do it swiftly with this technique. If you are kicking the dirt up into the enemies face use Bikenjutsu Gedan no Kamae and edge forwards slowly and as you do, dig
your front toes into the dirt to gather it in front of your foot (your front foot does not leave the floor). Try to divert attention to your sword as you do this. If you are grabbing dirt with your hands, use an Ukemi type movement – so you go to the ground quick ly and rebound quickly – and at that instant, you throw th e dirt at the enemies eyes. These can also be done with sand.
Mogura no Ho (Mole Method) The actual Kanji for this technique means ‘Soil Dragon’ – but the modern translation is ‘Mole (Gikun)’. This is a method for attacking an enemy with a sword or a spear from a hidden vantage point below the ground (below the level of the enemy). If this technique was to be used in a building, then the Ninja would hide under the floor (in the crawlspace under the house) and wait for his enemy (to wait by a creaky floorboard would have been a good indication of location). When the right moment came, the Ninja would stab up through the floor with either a sword or a spear. If this technique was used outside, the Ninja would dig a hole in the ground – this would be concealed by laying bamboo p oles across it and laying grass and vegetation on top of that. As the enemy walked past, the Ninja would stab up with either a sword or a spear (this technique was best used at a place where the Ninja knew the enemy would pass – special care and attention had to be e mployed if the area was well known to the enemy – any changes would be noticed).
Rakka no Ho (Method Of Falling Petals) This method is to lure your enemy to fall into a hidden hole, then to kill him. This can be used as part of a strategy for escape, evasion or infiltration. As with the last technique, dig a hole and camouflage it well. If the enemy is chasing you, then you must go in a direction that will guarantee that the enemy will fall into the hole. If you and your enemy are face to face, then you must keep your enemy at bay and maneuver him so the hole is between you and the enemy. You then coax the enemy to attack thus making him fall into the hole. At that point, kill the enemy.
Inton no Ho (Escape And Conceal Method) This is another method of using a pre dug hole in the ground – again – for escape, evasion or infiltration. You can als o use a natural hollow for this method. If you are discovered, or are about to be discovered, then retreat and hide in the hole until the danger has passed. If you are discovered whilst using this method, use Mogura no Ho.
Sekiton no Ho (Snow Evasion Method) This method is for using Doton no Jutsu in the snow. If you are lying in wait in a hole or are luring the enemy towards a hole that is concealed, then you must ensure that it is still snowing – this will naturally camouflage the trap. If you are using the sides of a path where the snow has naturally drifted, then you must pre dig the holes and conceal them with a false wall of snow. The principles of Doton no Jutsu are the same.
Kinton no Jutsu (Metal Evasion Art) Kin Ton no Jutsu takes advantage of sound or light from metallic objects to deceive your enemy, infiltrate enemy territory, attack an adversary, or escape from danger.
Kodama no Ho (Tree Spirit Method) This method once again plays on the superstitions held by the Japanese from this time period – if one or more Nin ja were to remain hidden in a wood or a forest and strike metal on metal repeatedly, this would make people believe that the woods/forest was haunted by tree spirits. This method also uses sudden unexpected loud noises, such as thunder or a bell chiming, that startle the enemy to the advantage of the Ninja. When working in a team, when the enemy approached, the Ninja would strike metal on metal to confuse and scare the enemy,
and in the confusion, one or more Ninja would approach and kill the enemy. Needless to say, this method can be used for escape, evasion and infiltration.
Hikari no Ho (Aizu) (Light Method – Signals)
This method is used for signaling by reflecting sunlight off a polished plate or mirror. By facing the sun and tilting the mirror back and forth, the mirror reflects the sun and light bursts are created. Alternatively, by passing your hand over the mirror covering and uncovering it, this can also be used for signaling.
Hikari no Ho (Metsubushi) (Light Method – Eye Crush)
In the Koto Ryu, there is a sword Kamae called Mangetsu no Kamae – similar to Hoko no Kamae – sword handle in your r ight hand, back of the blade in your left. It is said that there were 2 methods for using this Kamae. First was if it was raining, the swordsman would collect water in the Hi (Blood Groove) of the sword and flick it towards the enemies eyes. Second was to catch the sun’s rays in the blade of your sword. When the enemy was blinded by this, he was dispached. The Togakure Ryu use Kasumi no Kamae from Bikenjutsu with the same principles in mind. If the Ninja had a shiny flat plate to hand (mirror), then this was used as in the last technique to harness light from the sun but this time to blind the enemy. Escape, evasion or infiltration was the deciding factor in whether your enemy then lived or died.
In-Yo no Ho (Light/Dark Method)
This method is to take advantage of the contrast between light and shade – and the time the human eye takes to react to this change. Regardless of whether it’s daytime or night time (the moon casts shadows), this method can be used to great effect.
Trees, bushes, rocks, walls etc. all create shadows. This method is to hide in the shadows in wait of the enemy (or just to remain hidden) and when an enemy approaches, you jump into the light and cut the enemy down, then leap back into the shadow. The light makes it very difficult to see clearly into shadows (the darker the better).
Suiton no jutsu (Water Evasion Art) Sui Ton no Jutsu is made up of methods for using water to deceive or escape from an enemy, or to infiltrate enemy territory, or to attack an adversary. It contains swimming methods, uses for poisonous liquids, use of breathing apparatus, and deceptions.
KAKU SHU KOSHIKI EIHO (ALL KINDS OF TRADITIONAL SWIMMING METHODS) This set of methods have been handed down over the centuries in Japan. They are used for escape, evasion or infiltration in circumstances where water is present. As with all of the techniques in the Tonko no Jutsu, there is a ‘REAL’ element of danger involved in performing them. With the Suiton methods it is essential that you have a training partner with you in case things go wrong. Your local swimming pool is a great place to practice the swimming methods as they almost always have lifeguards to hand. Please stay safe when performing these methods.
Tachi Oyogi (Treading Water) This method is used when you wish to remain stationary in the water. The aim with this is first to use 2 hands, then 1 hand and then just with the legs. This is a great method for fighting in the water with or without weapons.
The following explanation is for practicing in a swimming pool.
You can start at the top of the ramp. The water should be up to your chest, at least. (A gentle reminder that your buoyancy is best over the deepest water, and buoyancy is what makes treading possible.) But, progress according to your comfort – you have your whole life to spend enjoying deep water. As with bobbing, face the wall, hands on the edge, and let yourself hang in the water a bit. You may sink a little – this is normal. Your face should be submerged, with your mouth a little open, jaw relaxed. Hold your breath without bubbling it out this time. Raise your face for your next breath, exhale it all out and submerge again. Your whole body is relaxed, and you're still holding on to the pool edge. Begin with a slow "giant stride" scissor kick slowly. No need to work hard while treading – it's a survival technique. Your ankles are relaxed as usual. Each kick pushes you upward. Now add a wide, ongoing breaststroke-like sweep with your hands, first in front of you, palms out, pushing water behind you along the surface, then returning your hands to the front, palms facing as they meet in front of your chest... back and forth... it's slow but powerful. You've pushed yourself a bit away from the wall to do this. Come back at your own pace. Keep submerging your face, breath held in your lungs (mouth a little open), raising it up only to take your next breath. Exhale everything before inhaling. Stay relaxed and curved a bit forward. Note that your air-filled lungs are the highest part of your body. That's it. You shouldn't be too far from the wall and can swim easily back. Treading, breathing freely As you become comfortable treading with your face down, you'll then: lift your face up and back, looking up, leaning backwards, as you rhythmically scissor and sweep.
you only need your face clear of the water, your body relaxed and your movements slower than you think. You can adjust your stroking movements, of course, in order to gradually tread for longer and longer periods.
In tachi oyogi, you can also roll your legs in a more circular movement with a feeling of pressing the water down. For the arms, it is preferable if you can perform this without using your arms at all, but it is also acceptable to use one arm for balance.
To use a sword while in the water:- In such cases, it is important to tie a cord to your sword in order to prevent it sinking into the water.
Nuki-Te (Overhand Stroke)
Nuki-te uses a breaststroke-style frog kick, but the arms move in the manner of swimming the crawl style. This is very effective for times when you wish to keep an objective in sight, and you wish to swim fast (this is regarded as the fastest swimming method). You can also carry a weapon in your mouth (like a Tanto) or tied to your back (your sword). Here are some tips for your arms for the crawl method. When swimming front crawl, keep your head still (apart from when you’re breathing). To practice this, swim as far as you can comfortably manage without breathing and concentrate on the contrasting feeling of your hips rocking while your head stays
still. Although the exact path of the pull is a lot down to personal preference, keep the following in mind. You wouldn’t haul a rope in with your arms out to the side of your body, you’d do it towards your stomach. So at the beginning of the pull (before you’ve reached your waist) try to keep your hand somewhere near the centre line of your body. As you pass your waist and the pull turns more into a push start to move the hand further out away from the body – you wouldn’t do a push up with your hands close to your body, you’d keep them shoulder width apart. Although the arm obviously starts straight, have a slight bend in your elbow during the main part. Longer levers may well be more effective but you need to be very strong to control them. Try imagining that there are a series of poles sticking up out of the bottom of the pool and that you have to grab hold of them and use them to pull yourself forwards. 4. The path of the arm recovery over the water is again a lot down to personal preference and you’ll see all sorts of styles even at top level swimming, but we would recommend that as your arm recovers you tuck it in so that your hand passes fairly close to your arm pit. The following concerns the ‘frog kick’ method for the legs. The leg movement, colloquially known as the "frog kick", consists of two phases: bringing the feet into position for the thrust phase and the in sweep phase. From the initial position with the legs stretched out backward, the feet are moved together towards the posterior, while the knees stay together. The knees should not sink too low, as this increases the drag. Then the feet point outward in preparation for the thrust phase. In the thrust phase, the legs are moved elliptically back to the initial position. During this movement, the knees are kept together. The legs move slower while bringing the legs into position for the thrust phase, and move very fast during the thrust phase. Again, the goal is produce maximum thrust during the in sweep phase, and minimum drag during the recovery phase. As a variant, some swimmers move the knees apart during the preparation phase and keep them apart until almost the end of the thrust phase. Moving both knee and foot outwards like a real frog avoids the extreme rotation in the lower leg.
Aori Hira (noshi) (Flat Scissor Legs Swimming)
This is a swimming method handed down in the Togakure Ryu. You can swim both quickly and soundlessly. The front arm strokes below your body, and the rear arm makes large strokes along the line of the body, down toward the legs. The leg stroke is called “Aori Ashi”. One leg kicks the water with the top of the foot, and the other kicks the water with the sole of the foot like in the breaststroke. The legs move in a scissoring action. Here, too, a weapon can be carried in your mouth or tied to your back.
Hobaku Oyogi (Restrained Swimming)
This method is a ‘last-resort’ swimming method for surviving when you have been tied up and bound. Float face-up, and move your entire body like a dolphin in order to propel yourself through the water. When you reach the shore, try to shoot your body out of the water using this propulsion and slide your back up the shore to reach dry land.
Doku-Mizu zu Teppo no Ho (Poison Water Cannon Method)
The doku-mizu mizu teppo is a water cannon made from bamboo and filled with poisoned water. Prior to using the cannon, block the hole, for example with grass or wax. Shoot it at an enemies eyes or mouth. You can then en escape or attack during the opening when the enemy reacts to this. There are both large and small versions of this weapon. For using the cannon, place the end against your lower abdomen and pull the water tube towards you. This allows for accurate aim and more power so the jet of water will fly further.
This is how to make your own Mizu Teppo These are the materials that you will need to make the water gun (see illustration on the next page)
1 piece of bamboo pole with the appropriate holes drilled. 1 smaller stick with the appropriate holes drilled. 1 piece of bamboo to make the handle with appropriate holes drilled. 1 length of soft cotton. 1 square piece of cloth.
Materials needed for the Mizu Teppo.
The handle is placed onto the plunge stick and pegged into place.
Place a couple of pegs on the other end of the plunge stick to hold the soft cotton in place.
Wrap the soft cloth around the pegs .
Secure the cotton with an elastic band or some string.
Wrap the square of cotton around this and secure it with an elastic band or some string.
This in the plunge stick completed.
The one end of the bamboo is bored out completely – this allows the plunge stick to be put in (this is also the end that the water is placed in.
The Mizu Teppo is now ready to use.
This is a view of the front – you can see that a sm aller hole is in the front to allow a smaller stream of water to be pushed out when the plunge stick is pushed. This can always be plugged with wax or dirt if the weapon is not to be used at the time. As for the poison liquid –this weapon would have been used as a kind of Metsubushi tool. If the water was infused with chilis, vinegar, lemon juice and of course poisons (for example, the poison that comes from the blowfish) – when pointed towards the enemies eyes or mouth, the effect on your enemy would be instant pain / discomfort and would allow you to escape, evade or infiltrate.
Gi Hen Kaku Ran no Ho (Deceptive Disturbance Method)
This method is used if you are being pursued by an enemy close to a pond, river or a stream. To make the enemy believe that you have entered the water, you pick up a large stone or a branch and throw it into the water – immediately go in the opposite direction and hide using any of the methods written in this book. As the enemy investigates this, you either escape evade, infiltrate.
Mizu Gumo no Ho (Water Spider Method)
This is a device for floating, suspended in the water. Four to Five separate compartments are made from rabbit skins and inflated. These are held together by string and tied together to create a circle. In the centre, there is a wooden seat also attached to the circle.
This is a device for floating, suspended in the water. Four to Five separate compartments are made from rabbit skins and
inflated. These are held together by string and tied together to create a circle. In the centre, there is a wooden seat also attached to the circle. In shallow water, a Kama-yari can be used as a rowing pole. The Kama part of the blade can be used for either snaring an object on shore to aid getting out of the water, or as a weapon. In deeper waters, a Shinobi-Gai (Stealth Paddle) is used. This is made from a 3 foot length of bamboo with a fan of bamboo strips on the one end and a hidden weighted chain on the other. The chain is used for either snaring an object on shore to aid getting out of the water, or as a weapon. With the mizu-gumo, it is important to move your legs like a swimming bird for balance.
Sui Chu Ki no Ho (Underwater Tool Method)
The Sui Chu Ki is a tool used in the Togakure Ryu. It is made from a 3 foot length of bamboo with a mouthpiece attached to it, and has two main uses. The first use is for breathing when you are underwater. It can also be used as a horn, like a conch shell for signaling. It can of course be used as a weapon.
For staying underwater, it is important to stay submerged by using one hand to hold onto reeds or something to prevent you
from floating to the surface.
Be sure to breathe he through your mouth, not your nostrils. If needed, you can block your nostrils first. It's possible to remain submerged for more than 12 hours with this method.
JINTON NO JUTSU (HUMAN ELEMENT TECHNIQUES) Jinton no Jutsu is the use of disguise and iden identity concealment (Hensojutsu 変装術)) to escape, evade or infiltrate the enemy – so learning how to imitate the following convincingly is important. This has a close relationship with theatre and acting. Jinton Ji no jutsu also includes ways of using the different classes of people for escap escape, evasion and infiltration.
Danton (Male) Depending on whether or not you yourself are male (Jin 人)or female (Onna 女),), depends on the approach you will take. Men are egotistical creatures and as such, you can use honour, embarrassment, vanity or pride against them to manipulate them into doing your will. It is also important to discover the man’s interests and daily routine as this can be vital in one’s strategy for using him.
Sex is always an important factor in the manipulation of men, so it is important to know the man’s sexual orientation in order to be able to exploit him. It is also important to know how to use Kunoichi くノ一 (Female Ninja) effectively to obtain information from men.
Onnaton (Female) Females are also creatures of ego and as such, the same applies to females as does to males. Gossip amongst females is also something to consider – this can be very effective to spread disinformation. It is important for the Ninja to know how to impersonate a female and understand the strategies of the Kunoichi to be able to use them within a situation. Kunoichi (Female Ninja) were trained differently from male ninja. Their training focused more on disguises, poisons, and using their gender to an advantage. While they were trained in close combat, they were only to make use of this knowledge if they were caught. They would usually disguise themselves as geisha, prostitutes, entertainers, fortune-tellers, and the like to get very close to the enemy. It is thought that they would generally seduce the soon-to-be victim and when they get close enough, would poison them, but it is just as possible they would be disguised as a household servant, allowing them many opportunities to overhear information or get close to a victim. Kunoichi would hide a variety of hidden weapons on their persons. They would also conceal weapons within everyday items such as a knife within a bunch of flowers or poison dust on the flower itself.
Roton (Elderly) Elderly people are very good sources of information gathering within regions as they have most probably lived in that area most of their life and know a great deal about the comings and goings within that region. Typically, old people are happy to talk to anyone – especially ones that have no immediate family caring for them, so gaining their trust and obtaining information from them is not difficult. Old people also know everything from local legends to the lay of the land (topography) which is vital for Tenmon / Chimon (see last section).
Lastly, it is vital to study the mannerisms and the way old people move – for example, if an old person worked as a fa rmer all his life, then he would probably be hunched over and suffering from arthritis, where as an old samurai may suffer from old war wounds and bear scars. This in an important aspect of Henso Jutsu.
Yoton (Young and infants) Children are playful by nature, so a good method of escape is to coerce the children to play some game or other close to your enemy as a distraction to aid your escape, evasion or infiltration. Also, a woman carrying her child would be a clever disguise for a Ninja as it would not draw much attention and – for what people may presume is a baby, may actually be Ninja tools etc. Children are also trusting by nature and may be bribed either with food or money to give information without them realising they are doing it. Children would also be held captive in order to blackmail the parents and relatives. Hostage swapping was a common practice in any negotiations as a trust bond.
Kiton (Aristocracy) The most important factor to consider when it comes to aristocracy is the various rules regarding etiquette, proper speech and the hierarchical structures within this class – so the Ninja needed to be able to blend into this environment either as a high ranking Samurai or as the ‘hired help’ – but it was vital to understand the correct way to conduct ones self to effectively disappear. Also, for instance, a Daimyo, or Shogun for that matter, would have advisors for the various decisions that they would have to make in the day to day governing of their fief or country. It was important for the Ninja to know ‘who was who’ to enable him to potentially manipulate the Daimyo or Shogun either directly or through his advisors. It was a well known fact that the Ninja often pulled the political strings of power without anyone realizing it.
Senton (Poor) Poor people would often beg in public places such as local temples, shrines and busy town areas, and as a result they would be in a perfect position to gather information about the region / town – so the Ninja could either offer money or food for this information as they would almost certainly be susceptible to bribes. The most likely scenario would be that the Ninja would disguise himself as a beggar and carry out this information gathering while remaining invisible within these surroundings.
HENSOJUTSU Hensojutsu is the art of disguise. The most important part of this is Shichihode (seven disguises) and is made up from the following –
Tsune no Kata (commoner, including Ronin, or masterless samurai, farmers and townspeople), Sarugakushi (Travelling Entertainer / Dancer) Hokashi (Travelling Entertainer / Minstral / Magician…) Shukke (Monk), Komuso (bamboo flute playing mendicant zen priest) Yamabushi (mountain-dwelling ascetic) Shonin (merchant)
You should study all of these thoroughly and understand that there is a close relationship with this to the performing arts. So, you should study different styles of clothing for all classes, the way people appear and the use of makeup to aid your appearance (special attention should be placed on the eyes), the different hair styles of the various classes and changing the shape of your body with both posture and prosthetics and lastly matching your movement to fit your disguise. You also need to study different dialects of speech and the customs that are specific to the region that you are in. If your disguise includes a musical instrument or an art such as the tea ceremony (for example) you should master these arts so as to be convincing – it is the small details that will give you away.
Kinton (Bird Evasion) This is how to use birds within the strategies of escape, evasion and infiltration. Over the centuries and all over the world, people have trained birds for a variety of purposes. Birds of prey are used for anything from hunting to keeping other birds and small animals away from your area. Pigeons are used for carrying messages to a specific location and have been effective for many hundreds of years. Birds of prey can be very effective in stopping messages getting through via pigeons. Birds of prey can also be used to attack and kill the enemies fowl. Ninja would learn how to startle birds to create a distraction against the enemy. They would also learn to mimic certain bird calls in order to attract or startle birds. Saiminjutsu (Hypnosis) could also be used on certain birds. For example – Closing a chicken's eyes and stroking its back will paralyse the bird. Clapping your hands next to the head will awaken the
chicken. Covering a love bird’s eyes and then shaking it will also paralyse it. The bird will appear dead. Throwing it into the air with a Kiai will awaken it – the bird will not fly, rather flap it’s wings frantically and fall to the ground.
Juton (Wild Animal Evasion) This is how to use animals within the strategies of escape, evasion and infiltration. Over the centuries and all over the world and throughout the ages, people have domesticated dogs and used them to perform various jobs – including guard dogs, drugs and explosives detection, guide dogs and – of course – as companio ns. The best way to befriend a dog is to give it food. However, this may not always work as they may have just been fed, so be aware of this. Also, dogs are prone to enjoy a good game of fetch (use this to get the dog away from you) however, they usually return with the item for you to throw it again – so this wouldn’t be a good strateg y if you wanted to remain undetected by humans. If you use food to befriend the dog, be aware that you can also drug or poison the dog if needs be. If you have a dog hunting you, rubbing another animal’s scent on yourself will mask your own scent. It is important to know how to trap wild animals to be able to use them to aid escape – or for a food source if necess ary. Ninja would sometimes tie a wild animal to a tree. The tree would move and alert the enemy. As the enemy inspected the tree, this would allow the Ninja to escape, evade or infiltrate the enemy. Ninja would sometimes keep mice in their pockets. If the mouse was released into a room where people were relaxing or sleeping, this would cause panic amongst the people within the room – especially women and children. This would create a great diversion for the Ninja.
Chuton (Bug Evasion) This is how to use snakes, toads and spiders etc. within the strategies of escape, evasion and infiltration. These animals can be easily placed in the pocket. Snakes were attached to the weighted end of the kusarigama. When thrown at the attacker and the rope wrapped around them, would result in the attacker being bitten by the snake. In this case the snake does not need to be poisonous. The sheer fact that they had been bitten was enough to scare some people to death. People are naturally jumpy when it comes to these kinds of animal, so if such things are released into a room – again – while the people are either relaxing or sleeping, this will have great effect and cause much fear. In the old days the Samurai would listen for the sounds of crickets. The reason for this was that when humans approach crickets,
they stop rubbing their legs to hide themselves from coming danger. To counter this, the Ninja would breed crickets and keep them around humans all their life. They would be taken with them, and as such when the wild crickets became quiet, the bred crickets would be released and continue making a sound – thus the Sam urai would not be distracted.
Gyoton (Fish Evasion) This is how to use fish within the strategies of escape, evasion and infiltration. Firstly, it was important for the Ninja to know how to catch fish – fish is, and has been for many hundreds of years, a main staple of the Japanese diet. A Ninja could poison the waters of an enemy’s territory to kill the fish – thereby taking away an important food source . Fugu 河豚 (Blowfish) livers contents are highly poisonous. This poison was used for the tips of shuriken, arrows, darts and even sword blades. Another method was for the Ninja to disguise himself as a fishmonger – messages or weapons could be hidden in the fish and easily transported or passed on without arousing suspicion.
Nitton no jutsu (Sun Element Techniques) The most important aspect of Nitton no Jutsu is ‘Kurai Dori’ or ‘Proper Positioning’ – to position yourself to use the sun to your advantage. The sun must be kept behind you at all times when fighting an enemy – this will blind the enemy thus creating a natural advantage. If the sun is in front of you and you are faced with an enemy, use your sword or any metallic object to reflect the sun towards the enemy’s eyes to temporarily blind him and take advantage at that moment.
Getton no jutsu (Moon Element Techniques) This is to use the moon for attack, evasion and infiltration. Knowledge of the timing of the moons cycle is essential. You move when the moon is new and remain still and observe when it lights up the earth – use the shadows that are created natura lly for
this – this is similar in method to In/Yo no Ho from Kinton no Jutsu.
Seiton no jutsu (Astronomy Element Techniques) Seiton no Jutsu is used for navigation at night – you use the well known constellations to determine longitude and latitude. You need to study star patterns in relation to where you live and create a chart that you can determine direction from. This is used to aid attack and retreat at night. If it is cloudy, usually landmarks will be silhouetted against the clouds – this should also be studied wi thin your local area – i.e. a lake will show up differently against a cloud as opposed to a field.
Unton no jutsu (Cloud Element Techniques) This is the method of using clouds for escape, evasion or infiltration by using naturally occurring cloud phenomena to your advantage. In the Togakure Ryu, the clouds are used as a blanket that covers the moon at night thus creating darkness. This is known as ‘Ankoku Toshi Jutsu’ meaning ‘Darkness Perspective’. Ankok u Toshi no In is related to this – it is used for seeing into darkness.
Muton no jutsu(Fog Element Techniques) Also called Kirigakure no Jutsu, Muton (Mu means fog) is for moving an army or disappearing in fog. There are two main uses for Muton no Jutsu - the first is to determine when the fog will come down, the second is using it at the moment it arrives. For example, fog usually arrives after a lot of rain has fallen when there is warm, still air or when rain comes from the sea to the land in the morning, followed by a warm southerly air current in the afternoon, then a cool northerly wind in the evening. This is based on predictions from Tenmon Chimon and as such you must understand that predictions are purely based on ‘weather lore’ and differ from country to country, region to region, season to season. You must study this for your own region or for regions / countries that you intend on visiting.
STEALTH WALKING Shinobi-Ashi- ‘Stealth Step’
Without making a sound, begin by placing your fourth toe on the ground and immediately following up with the middle toe, and then lastly the heel. If using tabi use the tips of the toes then gradually and lastly place the heel down. Uki-Ashi- ‘Small Step’ (also known as Ko Ashi) You walk only on the tips of the toes, your heel never touches the floor. Great for a quick sneak attack. Inu-Aruki- ‘Dog Walking’ This method is used to creep and crawl through low places on all fours, like a dog. Drop down to your hands and knees, and then alternately place your hands firmly on the ground and move forward or backward as needed. Kitsune-Aruki- ‘Fox Walking’ This is a method of walking on all fours. This is a fox like noiseless scamper on only the toes and the fingertips. Yoko-Aruki- ‘Sideways Walking’ First press your back firmly against the wall. Then, facing the direction you want to go in, open your arms and legs out as wide as you can. Cross your far leg and arm over your forward ones and repeat, sliding along like a crab. This allows you to travel further with fewer steps. The Yoko aruki movement is as an actual walking method used to quickly move through narrow spaces. By turning the body parallel to the plane of motion (sideways) the practitioner can maintain sight in a wide field both in front of one’s body and behind. The footwork is frequently combined with a swinging arm motion to assist in maintaining balance as well as feeling for obstructions. Shin-So-Toh-Ho-ArukiThe most silent method of walking, you place the balls of your feet on the back of your hands and, bent over in that position, walk forward and backward on your hands. Nuki Ashi- 'Sweeping Step.' This technique permits the ninja to cross wooden planks or straw matting undetected by giving him complete control of his body weight. From a low crouching position, the balance and then the body weight are slowly shifted to the forward leg until it
supports the entire body. The rear leg is then pulled forward and in toward the supporting leg. The ankles barely brush each other as the moving leg goes forward and out with the toes pointing slightly inward. With the weight on the stationary leg, the outside edge of the moving foot can be used as a feeler to probe lightly for any obstacles that might be in the
way. The foot is then eased to the floor, outer edge first. The weight is gently shifted to this foot, and can be withdrawn quickly if any creaking of the floor is noticed. This groping foot then becomes the new support foot as the ninja continues forward. With his hands moving lightly like tentacles, the ninja takes on the appearance an octopus feeling his way across the ocean floor. Ryohebi – ‘Serpent Moving’ crawling along the groun d on all four limbs, keeping low to the ground and having one leg always stretched out and the other leg tucked in so you can spring up to attack or move very quickly. Karasu-Aruki – ‘Crow Walking’ (side running) taking side steps with the feet without crossing the feet over like Yoko Aruki O-Ashi – ‘Great Step’ (similar to Yoko-Aruki, but t aller steps. This is used to cross fields or bodies of water silently). Using YokoAruki but using very tall steps with the tips of the toes touching the ground first then the heel.
GUIDELINES FOR STEALTH WALKING Maintain balance control by allowing your body weight to sink and be carried by deeply flexed knees. Remember to breathe along with your movement. Unconsciously holding your breath can unknowingly produce unneeded muscle tension, and could result in gasping release of breathe if you are startled or accidentally unbalanced. Stay alert to the entire scene. Do not become so engrossed in watching your feet that you do not notice other people an element entering the surroundings. Use all joints for movement, emphasizing fluidity through the engagement of the ankles, knees, and hips for stepping. Avoid the lazy and dangerous habit of stiffening knees and swinging the entire leg from the hip. Maintain your weight and balance on your grounded leg while you move the other leg into position to bear the weight. When absolute silence is a must, avoid distributing your weight over both legs at the same time. If practical, allow your hands to float lightly in front of and beside your torso, one arm higher and one arm lower, to detect possible obstructions before your committed body weight encounters them. Pause and hold your position if you feel that you have accidentally caused too much noise. Listen for signs that you were heard,
such as the movement of others or the immediate silencing of background noise following your slip. Sink a little lower on your knees to physically relax that could normally jump into your body with alarm. Take a deep breath and release it slowly to further relax. Continue your pause for as long as you feel is necessary to regain composure and allow possible listeners to decide they did not hear anything after all. Be as patient as possible. If speed of travel is not important, take as much time as you can. Impatience and the resultant hasty movement that it encourages are the greatest dangers to the person who must move silently without detection. Keep your movement appropriate to your surroundings. Do not go to greater lengths than necessary to conceal your movement, while at the same being aware of what others entering the area may see if they cannot hear. Total silence may not be needed when moving through wooded or densely populated areas where scattered noise is a natural part of the environment. Also be aware that low profile crawling or sliding may be the only way to move silently without being seen in some locations.
