Learning correct ukemi is a very important part of training. It is almost

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