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.

1/ 2/ 3/

4/ 5/ 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).

This document maintained by Webmaster.

Mahoutsukai Dojo Material Copyright © 2002

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 &

throat)

He then shifts his grip to secure his opponents

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.

From a grappling situation,

the defender will use a

technique called omote

gyaku.

As the attacker punches with

his right arm, the defender

shifts to the inside and

deflects the blow.

Stepping in, the defender

continues the arm

deflection up and across the

attacker's body to break his

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 a

forearm shuck and a wrist grab.

He then drives the knife man to the ground

by twisting the knife as he pivots his body

The engagement ends as the defender

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.

This document maintained by Webmaster Mahoutsukai Dojo Material Copyright © 2002

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 shale@shalecoach.com, or visited on the web. Shale Paul wants you

to know: I work with individuals who are committed to getting ahead, changing

direction, or simply growing! The original source is: Adapted from THE WARRIOR

WITHIN, by Shale Paul. Written by Shale Paul.

Copyright 1966, Coach University. May be reproduced or transmitted if done so in its

entirety, including this copyright line.

This document maintained by Webmaster.

Mahoutsukai Dojo Material Copyright © 2002

An Introduction to Kusari Fundo

As far as I am aware, there are no formal kata of kusari

fundo within the Bujinkan. I have seen techniques

performed with the kusari only as henka for another

form. An example of which I have included here. In

this sequence Hatsumi Sensei replaces metsubushi with

the kusari fundo. I have also included some pictures

Hatsumi Sensei took showing how to hold the Kusari

Fundo. As I get more solid information I will post it

here

The kusari fundo is a weighted chain ranging from 18 to 30 inches in length. The

kusari fundo ( also known as manrikigusari and many other names) was reportedly

invented by Dannoshin Toshimitsu Masaki aroung two hundred years ago.Masaki was

head sentry of Edo (Tokyo) Castle. He was aware that any attempt to breach the castle

walls would result in heavy loss of life and so tried to develop a means of defending

the castle without drawing blood as he felt blood should not flow before such a scared

place. For reasons only known to him, he decided to develop the use of the chain. He

found that this could be used successfully against opponents both armed or unarmed.

From these techniques he developed Masaki Ryu Manrikigusari.

In Hatsumi Sensei's book, Ninjutsu History and Tradition, he mentions four striking

technique's. These are :

Tenchi Furi - Rising or falling vertical strikes

Yoko Furi - Inwards or outwards horizontal strikes.

Happo Furi - Inward or outward diagonal strikes.

Naka Furi - Forward shooting strikes.

It is my intention to discuss Naka Furi on this occasion. This is illustrated below by

Hatsumi Sensei.

The kusari is held in one hand

by a weighted end and gathered

up in thepalm of the hand until

the other ed is grasped in

between the fingers. Youshould

now have a hand full of chain

with on weight protruding from

the palm by the little finger and

the other weight from between

the index and middle finger.

The kusari can now be thrown forward by punching towards the opponent and

pointing the index finger to release the kusari fundo at the opponent, keeping the other

end grasped firmly with the little finger. If aimed at the face, it will accomplish the

same task as metsubishi (blinding powders). Once the kusari has reached the end of

it's flight it may be swung down and back into the opponent in one of the other strikes

mentioned above.

I have included below a set of photograph's of Hatsumi Sensei performing a kusari

techniques. These pictures are taken from an old issue of an american magazine

NINJA, before Hatsumi sensei stopped contributing to it and it went to seed (these

photo's are from a 1987 issue)

''This is a lightning fast metsubushi technique. For practice

purposes, rather than the kusari fundo, which could be very

dangerous, I recommend you use a string with knots tied in

at both ends. Please remember as you practice to employ

the variety of body movements I explained to you in my

earlier article on metsubushi.(Dec/86). (sorry I'll post that

article next.) (1) Here Dr Hatsumi assumes the yoko

ichimonji no kamae with a knotted string rather than a

kusari fundo. (2) As the attacker moves in, draw your left

leg diagonally back so that the attackers sword will hit

nothing but air. Immediately release the 'fundo' in your left

hand, whipping it out at the opponents neck/face area. (3)

As you practice you must try many different things. This

time throw the 'fundo' in such a manner that it scoops under

and around your opponents forearm.''

This document maintained by Webmaster.

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

merlyn@mahoutsukai-dojo.co.uk 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.

This document maintained by Webmaster.

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

Hontai Yoshin Ryu are the roku shaku bo or cho

bo (the six shaku or almost-exactly-six-foot staff,

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

The author in the standard roku

shaku bo ready position.

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

his right hand and a rope in his left, Miyamoto

Musashi, Japan's famed swordsman and artist has left a

carving of Fudo Myoo which resembles the Kukishin

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

Nakai (left) and Suhara

(right), demonstrate the

tsukeiri technique of bo

awase.

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,

and the bo wielder, with his right hand midway on

the cho bo, holds the staff at his waist, front end

angled down. From about two meters distance the

two execute a formal standing bow, then both kneel

on their right knee, sliding their weapons straight

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

Roku shaku bo vs. sword kata.

Here, Inoue Kyoichi Sensei

(sword) demonstrates the kata

with his son Hirohide (bo) at a

New Year's demonstration.

unarmed defender against sword attacks in Hontai Yoshin Ryu tachi dori, or jujutsu

forms against the tachi or katana.

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

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.

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

kodachi), and to bo and hanbo kata. For nearly three

hundred years the master instructors of the Hontai

Yoshin Ryu have integrated techniques from both

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.

Han bo kata, in which Inoue

Kyoichi Sensei applies an arm

lock with the han bo to Nakai's

(with sword) right arm.

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 Robert Sanchez

The ninja were faced with the problem of survival. Their opponents were seasoned and experienced in battle."

The ninja made use of a large variety of weapons in their art. In this article I'd like to discuss two of these, the

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 fastened

to one end. A chigiriki is, in reality, a type of Japanese mace. There are a number of traditions associated with this

weapon, the most famous being the Araki-ryu. To this day, Araki is just a few short train stops past Kashiwa on

the Tokyo-Kashiwa line. The Araki-ryu was founded by Minamoto Hidetsuna. Hidetsuna saw combat in the

Japanese-Korean War (1592AD-1598AD) and was given special commendation. Later he changed his name to

Araki Mujinsai and founded the Araki-ryu. This ryu is still famous today for its use of jujutsu, the kusari-

the chigiriki.

The author, faced with the threat of a sword attack, swings the

weighted end of his chigiriki at his opponent (1). Entangling

the attacker's hands (2), Martin quickly pulls back on his

weapon, disarming the swordsman (3&4). His attacker now

weaponless, the author again swings the chigiriki (5),

entangling his enemy's right ankle and dropping him to the

ground (6). Quickly closing the distance, he strikes to the groin

to finish his defense (7).

Another ryu associated with the use of the chigiriki is the Kukishinden-ryu. The Kukishinden-ryu is one of the

oldest fighting systems in Japan. It was formalized in its current state by Izumo Kanja Yoshiteru. While best

known for its bojutsu, the Kukishinden-ryu has a number of techniques that use a staff with a weighted chain

attached.

The kusari-gama probably had its origin in the Gyokko-ryu, another ryu associated with the use of chain weapons.

According to its history, an early member of the Gyokko ryu, a man by the name of Hachiryu Nyudo, invented a

weapon known as kyoketsu-shoge. This weapon consisted of a knife connected to an iron ring by a long rope.

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 weapons

does not come quickly or easily. It is also very unlikely that the student would ever be faced with an opponent

armed with one of these weapons. Why, then should these weapons be studied? Obviously for a student to accept

the difficulty and direct the extensive time necessary to acquire skill there must be valid reasons. In this case there

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 into the

way ninj a sought to solve problems and, in so doing, aid ourselves in finding answers to our own difficulties.

The ninja were faced with the problem of survival. Their opponents were seasoned and experienced in battle. In

addition, their samurai opponents had the advantage of many years training from the best teachers and in the best

schools of swordsmanship. The traditional answer to the ninja's problem would have been to spend an equal

amount of years with those same teachers and in those same schools. Even if the ninja had the financial resources

to do that, they probably ddn't have the social standing, and so would have been prevented from attending those

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 options

didn't solve their problem. Around 1550AD an Uzi could not be purchased at any price - automatic weapons hadn't

been invented. The firearms of that day were very unreliable, being rendered useless by such simple things as wet

firing cords. The questionable reliability of firearms combined with the very real stress of combat, increased the

chances of mi§sing a target - even at close range. The result of such a miss was usually fatal, so firearms were not

a viable solution. Here is where we get our insight into ninja problem solving. A new weapon was needed that

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 the blow

with the staff (2) and quickly encircles the attacker's neck with the rope (3). Dropping his opponent, the author

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 was

required to find this new weapon was an open-minded, non-traditional approach to the problem. From this

extraordinarily unusual approach, especially for that time, the chigiriki was born. It was a simple weapon of

inexpensive material and was easily replicated. It's use was also built on skills the ninj a already had, as the

chigiriki could be held in such a way as to appear to be only a wooden staff. The ninja's use of surprise and

subtlety blended well with the chigiriki. Its surprising range negated the famed sword skills of the samurai and

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, is in the

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 this

reason

Any student of a fighting art must have an understanding of proper distance. The ability to accurately and quickly

judge distance is crucial to the ability of either defending or attacking. The use of any chain type weapon ties

directly to this proper judging of distance.

In practice, the chigiriki and the kusari-gama are usually employed by swinging the weighted chain. At the same

time the practitioner moves back and forth controlling the distance to the opponent. Obviously, if the opponent

allowed to get too close, the weighted chain becomes useless

Strikes to the opponent come at the precise time when the distance is

correct. This understanding of time and distance is one of the most

important basic concepts in unarmed combat. When weapons are used, the

full understanding of this basic concept becomes absolutely critical. Any

method of training we can find that helps us to improve this skill enhances

our art. Training with the chigiriki sharpens our skill at judging distance. It

makes it possible for us to know with certainty when an opponent is too

close and can strike us. It also allows us to know when we can carry out an

attack of our own. The chigiriki and the kusarigama are excellent tools in

honing this skill. Our second reason, then, for the study of chain weapons is

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 the

swordsman's hands (3). In response, the swordsman grabs

the rope and pulls (4). The author moves with the pull and

blocks a sword strike with the bladed end of his weapon

(5). Looping the rope around his attacker's neck (6),

Martin brings him down, controls him with his knees,

chokes and delivers a finishing cut with the blade (7).

The methods and tools we use in training can either greatly speed our learning or inhibit the process. Methods

used should be designed to prevent injury and build confidence. When making training weapons, use materials

that are not likely to cause harm. For the chigiriki use light-weight wood for the staff, a soft rope instead of a

chain, and a soft weight for the rope's end. A tennis ball works very well and can be held in place with common

duct tape. The speed of your movements must be determined not only by your skill, but that of your training

partner. Any training, that does not consider the skills of both, runs a a great risk of injury to one and wasted

training time to the other. Unless the body learns by slow careful training, it will never be able to supply the

accuracy when speed is required. I have heard Hatsumi Sensei tell us many times that the biggest mistake students

make is to train too fast. Relax, enjoy your training and have fun!

This document maintained by

Mahoutsukai Dojo Material Copyright © 2002

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 dream-

like martial artist is living in such a place.

This document maintained by Webmaster.

Mahoutsukai Dojo Material Copyright © 2002

SISTEMA DE GRADUACIÓN EN LA BUJINKAN BUDO TAIJUTSU

PDF created with FinePrint pdfFactory Pro trial version http://www.fineprint.com

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", Takamatsu-

sensei.

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.

This document maintained by Webmaster.

Mahoutsukai Dojo Material Copyright © 2002

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.

This document maintained by Webmaster.

Mahoutsukai Dojo Material Copyright © 2002

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."

This document maintained by Webmaster.

Mahoutsukai Dojo Material Copyright © 2002

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.

This document maintained by Webmaster.

Mahoutsukai Dojo Material Copyright © 2002

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

control of the

sword's handle

with his free

hand as he kicks

out at the

attackers knee

and dropping the man.

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.

This document maintained by Webmaster.

Mahoutsukai Dojo Material Copyright © 2002

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

I believe that this cut increases your ability to "feel"

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 Konpi

Once a chain and bullet

with an Iron hand or some

device at the end of the

The Konpei

The konpei has a hollow

handle which allows the

chain to run through freely.

The Kusari-Fundo

The length of the kusari-

fundo is usually between

1.5 and 3 feet. Some

chain was said to be

combined for use as the

konpi. As a weapon, a rope

or stick was attached to the

end of the chain.

It also has the fundo

(weight) at one end of the

chain and the kakushi (a ring

with sharp iron horns, also

called kakude) at the other.

Kaku means horn, te or de

means hand, shi means

finger. Wearing the kakushi

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.

schools, of course, use

shorter or longer ones.

Those with round shaped

fundo are often called

tamagusari or gakikan,

while the ones with

rectangular shapes are

called fundo-kusari.

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.

1/ 2/ 3/

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.

This document maintained by Webmaster.

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

This document maintained by Webmaster.

Mahoutsukai Dojo Material Copyright © 2002

Ninjutsu Water Training

Ninjutsu Water Training

The Wave of the Future?

By Robert Bussey

Ninja were known to use their unique water-fighting skills in or around the lakes, ponds, moats, fields and streams that came in to Play during battle.

On a winter day many years ago, my brother and I attempted some martial arts sparring on a frozen lake near our parents' resort home in Nebraska. In those 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 my base leg. Needless to say, I ended up bruising both my funny bone and my pride.

For the typical martial artist, frustration sets in when it becomes impossible to execute an attack or defense move. Sometimes, your inability is caused by an opponent's superior ability; and other times it can be linked to specific terrain or circumstance. Regardless of the reasons, a true warrior must find ways to overcome obstacles in a direct confrontation. While working out at my academies. Practitioners from other styles have exhibited difficulty in moving on floor mats.

"I am used to working on carpet," they explain. Other martial artists, however, are right at home when training on mats. But the ninja must be equally prepared for battle among a variety of locations - mats, concrete, dirt, jagged rocks or even water.

A ninja's cleverness in responding to any situation is based on his skills of adaptability. Students of the Nebraska ninjutsu system are taught to develop abilities in combat that will enable them to turn potentially dangerous situations to their advantage.

To survive in combat, the martial artist cannot rely solely on a set of fighting principles. The ninja must be able to respond without thought or hesitation, and utilize skill which is equal to or better than the enemy's. There is a time to use the feet, a time to apply joint manipulation, and a time to grapple.

When fighting on ice, for example, it would be more pragmatic to feature various hand strikes, as well as elbows, knees, and grappling techniques. Kicks won't work as well because of the slippery surface. The ninja's physical arsenal must be wide enough to give him total body/terrain unification. The same holds true whether he's fighting among trees, on a city bus or in a large body of water.

During the summer, it is not uncommon to teach training techniques in the Midwest's bountiful lakes. The practitioner is taught to realize the vast capabilities and alternatives available to him as a water warrior. Some of the key study areas include: above and below surface traveling, under- water tube breathing, conditioning (for health and survival), water safety, invisibility, water purification (for drinking), and in water combat fighting.

Traditionally, ninja were known to use their unique water-fighting skills in or around the lakes, ponds, moats, fields, and streams that came into play in Japanese battles fought between the 12th and 17th centuries. Swamp and other water confrontation scenarios also were integral parts of World War II, the Korean War and, of course, the Vietnam War. Although the later examples made use of more sophisticated weaponry, there were many hand-to-hand water-fighting examples, especially among elite troops and escaping prisoners of war.

One cannot hope to teach a student the ins and outs of every combat situation. A ninjutsu instructor, however, can guide the student toward general circumstances of self-defense, and then allow him to grow in

file:///C|/Documents and Settings/Uli/My Documents/My eBooks/Martial Arts/Martial Arts - Ninjutsu Water Training.htm (1 of 3)12/1/2004 8:10:30 AM

Ninjutsu Water Training

his ability to respond naturally. When called upon, his knowledge can be put to the test. In mastering the art of water fighting, a on a new approach to combat. Unless his weapons (in most cases

the arms and legs) are above the surface of the water, many of the typical kick/punch/ throw techniques are less effective. In waist level water, for example, all of the upper body tools, with the exception of mobility, will work well. It is when the ninja and his opponent get into chest-level water and above that special approaches need to be taken.

Skin pinching, pressure-point control, and joint manipulation can become the best weapons for water fighting. In head-level water, the stronger individual usually swims to safety because a person's striking skills are neutralized. But by using the ninja methods of water fighting, even the smaller or weaker person can gain the upper hand.

The prescription for self-defense in water fighting depends greatly on whether the warrior wants to: a) escape from his opponent(s); b) injure or maim his opponent(s); or c) kill his opponent(s). The decision, obviously, would vary greatly with each situation. But in all cases, choice "c" or death would be a last resort.

In waist-level water, all of the upper body tools, with the exception of mot bility, will work well.

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. Pressure-point 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 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

file:///C|/Documents and Settings/Uli/My Documents/My eBooks/Martial Arts/Martial Arts - Ninjutsu Water Training.htm (2 of 3)12/1/2004 8:10:30 AM

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.

file:///C|/Documents and Settings/Uli/My Documents/My eBooks/Martial Arts/Martial Arts - Ninjutsu Water Training.htm (3 of 3)12/1/2004 8:10:30 AM

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 I posted the

article as it was published....Merlyn)

It is with much respect and admiration that we welcome the literary and

philosophical contributions of Dr. Masaaki Hatsumi to our magazine.

Dr. Hatsumi, as many of you know by now, is the 34th Soke (Grandmaster) of

Togakureryu ninjutsu, the title having been passed down to him from his

master, the late Toshitsugu Takamatsu, 33rd Soke. What many people are not

aware of, however, is that the venerable Takamatsu also bequeathed his prize

student the authority and position of headmaster in seven other martial arts :

• 14th Soke of Kumogakure ryu ninpo (originally founded by Heinaizaemon Ienaga Iga (a.k.a. Kumogakure

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 Kawachi

• 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 knowledge

of individual personal powers and limitations, the practitioner of ninjutsu can gain strength and invincibility that

permit enjoyment of the flowers moving in the wind, appreciation of the love of others, and contentment with the

presence of peace in society. The attainment of this enlightenment is characterized by the development of the jihi no

kokoro, or "benevolent heart". Stronger than love itself, the benevolent heart is capable of encompassing all that

constitutes universal justice and all that finds expression in the unfolding of the universal scheme. Born of the

insight attained from repeated exposure to the very brink between life and death, ninpo's benevolent heart is the key

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_ is now

once again emerging, because once again, it is the time in human destiny in which ninpo is needed. May peace

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, to list just a

portion of them would entail the addition of countless pages to the magazine

or warrant a special edition devoted to that subject alone. Barring that

enterprise for the moment, we can happily accommodate the words of

Yoshiteru Otani. Learning that his friend and teacher for 25 years was

embarking on a series of articles for Ninja Magazine, Mr. Otani, 9th Dan,

Jigen-Ryu, Founder and President of New York Iaikai acknowledged that:

"In the martial arts history of Japan, we have produced only a handful of

major grandmasters. . . " citing Ueshiba Morihei Sensei of Aikido fame and

Mikune Kyuzo Sensei, 10th Dan of Judo, as two from the modern era.

"Standing with them," Mr. Otani asserts, "is Hatsumi Sensei, a real genius in

his time, a modern ninja without equal."

"His dedication to the art of ninjutsu and his devotion to his profession as a

chiropractic doctor creates an example of a man who has harmonized body

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 today, I

must fight with my pen, not my sword, to introduce this 900 year old tradition of ninpo to those who are truly

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? Because

ninjutsu was originally taught in a secret manner, and this secrecy was kept and observed for many years.. Ninjutsu

was not exposed. (Yet), those who never learned ninpo, those who just read books, for example, started to practice

even though they had very wrong conceptions. It is therefore often thought that ninjutsu is used for assassinations

and other evil purposes, and that those who practice it live in a `dark world'. Too many people believe that that is

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, to

understand nature and animals, and to love the universe. This type of love I speak of must have a kind of balance in

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 of God. It is

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 achieve. a

higher spiritual state, that is the true meaning of ninja..

NINJA HACHIMON:

1. NINJA NO KIAI: (This involves an explosive expression of spirit and energy to others and to oneself.)

2. NINJA NO TAIJUTSU:(Involves the study and practice of body techniques.)

3. NINJA NO KEMPO: (This is the study of sword techniques.)

4. NINJA NO SOOJUTSU: (This is the study of methods volving the spear or lance.)

5. NINJA NO SHURIKEN: (This is the art of throwing knives, darts and star?shaped weapons.)

6. NINJA NO KAJUTSU: (Involves the use of fire.)

7. NINJA NO UGEI: (This is the art of deception and disguises.)

8. NINJA NO KYOMON: (This is the study of religion, philosophy, meditation, history, mathematics,

chemistry, physics and psychology.

Since ancient times, study of the arts and sciences were as important to martial arts as the study of self defense

techniques. Ninja no kyomon, the study of all aspects of religion, medicine, mathematics and other disciplines are

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 into greater

detail concerning this very special martial art and way of life: What we call ninjutsu.

This document maintained by

Mahoutsukai Dojo Material Copyright © 2002

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 wide-

ranging 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 moment-

which 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.

This document maintained by Webmaster.

Mahoutsukai Dojo Material Copyright © 2002

Sensei's Online Journal

Momochi Sandayu

"Ninjutsu is not something which should be used for personal desires. It is something which should be used

when no other choice is available, for the sake of one's country, for the sake of one's lord, or to escape

personal danger. If one deliberately uses it for the sake of personal desires, the techniques will indeed fail

totally."

My Six Years with

Hatsumi Sensei

as told by Doron Navon to Ilan

Gattegno

Like a true ninja, he remains a

complex and intriguing enigma

to most of the world, even to

us who know him personally.

While many of his students

bathe openly in the limelight,

Dr. Masaaki Hatsumi, 34th

Grandmaster of Togakureryu

ninjutsu, stays quietly in the

shadows. It is his choice. He is

a man of subtle, yet great

substance who frequently

prefers to observe from a

distance.

When asked to describe Hatsumi Sensei, his students, his friends, even his wife all

give differing versions of this multi-faceted diamonds There is, however, one aspect

on which they all agree: They all call - him "Sensei" . And he is called that with much

love and reverence.

Very few people have been fortunate enough to spend much personal time with

Hatsumi Sensei; and of those, even fewer are able to really get to know him. But one

who did manage a deeper glimpse into the man is Doron Navon, Hatsumi's first Israeli

student, who trained with him for six years and became more like a son to him than

just a student. Theirs is a very special relationship that has grown and flourished for

nearly 20 years now. Navon currently holds a 6th Dan ranking issued by Hatsumi

Sensei, the highest ever achieved by a nonJapanese in the system. In 1974 Davon

returned home to found the Bujinkan Dojo of Israel. Said to be the only non-Japanese

homonoshidoshi (true teacher), Navon speaks reverently of his own true teacher.

"Sensei is a very special person, " he says. "He's very

harmonious, intricately engaged with the flow of

Nature. Yet his infectious vitality dominates the big

organization behind him.

"Usually he starts his day as a regular person, "

Navon smiles, "taking care of his patients as hone

tzugi (orthopedic doctor), but the afternoons and

evenings know him as the ultimate master of ninjutsu.

It's not a case of Dr. Jekyll and Mr. Hyde," Navon

asserts, "rather, a natural transformation from one

phase to another, done with logical extension and in

complete harmony with himself and his surroundings.

"

Even his neighbors in Noda City don't really know who he is or what he does. They

know he's engaged to some extent with the ancient fighting arts, and they see many

visitors come and go, but they're never quite sure what these activities mean. They

have become resigned to accept the fact that he is someone who will never be

completely revealed to them. Hatsumi Sensei prefers it that way. He lives a very

modest life, conducting himself in a quiet, conservative manner, choosing not to

exhibit the enormous martial powers he possesses.

Hatsumi's-orthopedic clinic is situated on the street-level front of his house. A small

room at the back used to be his private dojo, but is now rarely used as such. It serves

more as a room for martial arts memorabilia with its framed pictures, drawings and

documents adorning the walls.

Hatsumi Sensei has an extensive

collection of swords, many of which

were actually used to kill-not by Sensei,

however! Interestingly enough, many

people turn their backs on swords that

were instrumental in the deaths of others,

fearing they might bring bad luck; so

they give them to Hatsumi Sensei. . .

"who is not touched by the evil spirit,"

says Doron Navon.

Hatsumi Sensei is the kind of man to

whom many people gravitate, bringing

him all manner of gifts. Following a

long-standing Japanese custom, he

always has an ample amount of gifts to

give in return to whomever happens to

just "drop in". Add to this assortment of

friends and acquaintances a menagerie of

pets-including an alligator, two iguanas,

many Persian and Siamese cats, and two

ol' hound dogs he takes for a walk every

night-and you get the picture of a very

happy, stable homebody.

"There is usually at least one of his students around hoping to see to anything Sensei

might need," Navon says. "And then, there is always his very special student who

seldom leaves his side-Marikosan, his wife, whom he affectionately calls oksan

(which translates literally to "his wife"). As wife and loved one she helps him with his

orthopedic patients; as student and teacher she is the ultimate kunoichi (woman ninja),

practicing her art faithfully, determinedly. She holds the rank of shidoshi and has

many times joined the senior students in demonstrations. The students are always the

'victims'- and they have said many times with affection and admiration that they

would much rather have any of the other women ninja partipating since Mariko-san

executes the techniques with all her heart and ability- which means that the students

experience quite a few aches and pains as a result of her enthusiasm!

"She is an extremely lovable person," says Navon. "She is a major hone tzagi at Meiji

University where, incidentally, she first met Hatsumi Sensei." She recalls that in the

beginning, Hatsumi did not show any outward interest in her; instead, he confided in

her about all his romances with other women. But that may have been his ninja way

of getting around the issue, for one day he straightforwardly asked her to marry him-

and 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 perfect-

and 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".

This document maintained byWebmaster.

Mahoutsukai Dojo Material Copyright © 2002

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.

This document maintained by Webmaster.

Mahoutsukai Dojo Material Copyright © 2002

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-no-

kamae 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 position of the

knees and

shoulders play an

important role in

balance

The sword is drawn as if

he were going to throw it

away

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

the right, crossing over

your right leg. The way you

loosen the swordguard is

the same as before, with

your forefinger.

Now this is the tango. You

take another step to the right

with your right foot.

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.

Direct the sword to the heavens as if you

were dancing with the sword.

Strecthing yourself out, you swing down

the sword into a thrusting posture.

This document maintained by Webmaster.

Mahoutsukai Dojo Material Copyright © 2002

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).

1. 2. 3. 4.

5. 6. 7. 8.

SHEATHING THE SWORD

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.

This document maintained by Webmaster.

Mahoutsukai Dojo Material Copyright © 2002

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, slightly-

less- 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.

This document maintained by Webmaster.

Mahoutsukai Dojo Material Copyright © 2002

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 over-

confident 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)

This document maintained by Webmaster.

Mahoutsukai Dojo Material Copyright © 2002

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."

This document maintained by Webmaster.

Mahoutsukai Dojo Material Copyright © 2002

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.

This document maintained by Webmaster.

Mahoutsukai Dojo Material Copyright © 2002

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. Side-

walking 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.

This document maintained by Webmaster.

Mahoutsukai Dojo Material Copyright © 2002

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,

shift the body with the front knee while the

hands guide the point into place.

This is followed by a body shift to

withdraw the body, hands and spear.

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 left hand releases the

spear while the right hand

rotates.

The body is then shifted

and the left hand grasps the

shaft to make the cut.

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.

This document maintained by Webmaster.

Mahoutsukai Dojo Material Copyright © 2002

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 thing-

facing 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.

This document maintained by Webmaster.

Mahoutsukai Dojo Material Copyright © 2002

"NIHON TAIJUTSU NO RYUTSU, TAKAMATSU SENSEI

GAKAKI NO KOSARETA ICHIBU DE ARU"

© copyright 2003-2004 Magokoro Media

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.

This document maintained by Webmaster.

Mahoutsukai Dojo Material Copyright © 2002

Tessen Jutsu

- The iron fan blows a deadly breeze

by Charles Daniel

Anyone who is not familiar with the wide variety of Japanese martial arts cannot help but to be surprised by the

number of weapons and fighting systems that have been developed by that island nation. In addition to the

more recognised arts of the sword, spear and bow, the Japanese have a bewildering collection of 'minor' martial

arts that evolved to fill limited but very important needs. Such arts as shuriken jutsu (throwing blades), kusari

gama (chain weapons) and fukabari ( needles and darts blown either from the mouth or through a tube) were

developed and deeply studied. Later, some of these arts became highly evolved and achieved the staus of being

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 the

attacker

around.....

for a takedown

kick to the leg....

so as to finish with

a blow to the head

The history of the iron fan is uncertain, but it is fairly safe to say that the fan as a weapon received more study

in Japan than in any other country. (The only other country that could even come into consideration would be

China, but information on Chinese fan technique is very limited and has no real historical basis that can be

verified). Regardless of the weapons exact origins, it is certain that by the warring states period, the tessan was

a part of many warriors equipment. In pictures of the battle of Ichino-Tani, Kumagai no Jiro Naozane is shown

using a war fan. Later illustrations , such as that of the fourteenth century warrior Masashige Kusunoki, also

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 the

case in China. It is interesting that the first fans were very large and were often carried by attendants. A distant

cousin of the fan was also seen in the giant fan-like banners that were carried into battle to help mark off which

sides were fighting for which leader. In this respect, these banners (in Japanese uma-shirushi) were used much

like flags. Another relative of the war fan was the saihai which may have had it's origins in the Buddhist fly

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 saihai

were usually wooden handles with paper or cloth attached at one end so as to make a small and lightweight

whip. Later, someone must have realised that the very same instrument would be a very effective club if a little

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, because

of their weight, could be used to make orders clear to some of the more slow witted men under a warlords

command. They were also unquestionably used to settle some of those minor disagreements that commanding

officers sometimes have. Even a stubborn samurai could often understand a point when it was emphasized

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 by

this action causes the

attacker to pull his

arm back. The

defender follows and

strikes the attacker in

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) had

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") to

leave their long swords at the door when visiting. Sometimes this custom was extended to include the short

sword as well. If there is one condition that a rational man wants to avoid when in a dangerous situation it is

that of being unarmed (especially when everyone else is probably armed). In such a situation, the tessen could

be a real life saver. Although fairly short, these fans could be used to parry sword cuts and thrusts and to make

discouraging counter - attacks. This was particularly the case in very close quarters because the fan's light

weight (compared to swords) made it an extremely fast weapon. It should be noted that a number of Japan's

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 flowers or

involving himself in some other harmless pastime. To gain some perspective on this, one only has to visualize

themselves confronted with a trained samurai armed with a sword and then complete the picture by arming

themselves with only an iron fan that is maybe eighteen inches long. The famous Ittosai once fought a Chinese

martial artist who was armed with a halberd (battle ax) using only a fan. Ittosai defeated the Chinese without

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 some

ninjutsu?ryu. It should be noted however that the Japanese sport of taihojutsu does make use of a short stick

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 jutte is

then

slammed into

the sword

hilt

which is followed by a

combination elbow and

knee.....

to drop the

opponent.

This document maintained by Webmaster

Mahoutsukai Dojo Material Copyright © 2002

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.

This document maintained by Webmaster.

Mahoutsukai Dojo Material Copyright © 2002

1 of 4

Dr. Masaaki Hatsumi is the current headmaster of thetogakure-ryu ninjutsu system, the most popular surviving ninjatradition in the world today.

Three Fallacies of NinjutsuThe Truth About the Ninja's Past

by William Durbin

Myths and misconceptionsabound in the martial arts, especially when dealing with themysterious Japanese. system ninjutsu. There are three popularfallacies about this combat style which often prevent it from being a positive influence in themartial arts community. Some of these misconceptions havebeen perpetuated, surprisingly enough, by those who promoteand teach the art. Such individuals feel they benefit more if ninjutsu is kept from proceeding out of the shadows fromwhich it originated. The three main misconceptions regarding ninjutsu are: 1) thatancient ninjutsu was practiced only by members of the ninja

clans; 2) that ninjutsu was created and developed by followers of Mikkyo Buddhism; and 3) thatninjutsu is an art which encompasses many fighting systems. By examining each of thesefallacies closely, it is possible to debunk them and discover the truth about this centuries-oldmartial art. First, ninjutsu originated hundreds of years ago in the. Buddhist temples of Japan. WhenBuddhism first appeared in Japan, some people were afraid of this foreign religion. Most of theseindividuals followed the indigenous faith, which came to be called Shinto, and they began topersecute the believers of Buddhism. In response to this harassment, the Buddhist monks beganto 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 ofthe other forms of fighting were based. The monks were particularly known for their skill withweapons such as the naginata (halberd), yari (spear) and ono (battleax). The monks only resortedto fighting when there was no other recourse. More often, they employed subtle tactics, using aspecialized art based on a religious concept called ninpo, the "principle of patience." Sitting inmeditation or studying the scriptures for hours developed in the monks great patience, a qualitythey were able to apply to their martial arts training. One of the most highly valued abilities among the monks was "body lightening," analightening,"rt that came to be called karumijutsu. It was thought that by uplifting his spirit, amonk could lighten his I)ody. To develop this skill, the monks tirelessly and patiently practicedtechniques 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 beganto use these abilities to spy on their persecutors. The information the warrior monks gained wasused to help protect their temples, their followers and themselves. Many times, their intelligencegathering alerted them to assassination plots or temple assault plans, enabling them to takeappropriate countermeasures.

2 of 4

Because their religious beliefs did not permit them to carry out certain forms ofespionage-including undercover work of a sexual nature-it was necessary for the Buddhist monksto befriend and teach martial arts to some of the local farmers, who were called on to act aswarriors when necessary. These jisamurai (farmer warriors) took it as a great honor to be taughtninjutsu-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 orbushi.

Thus, it is apparent that ninjutsuwas developed by Buddhist monks in Japan, primarily forreasons of religious freedom. The art was later shared with jisamurai, and was eventuallypart of the combat arsenal used by professional warriors toprotect their lords. Nearly every comprehensive ryu (martial arts system) that developed beforethe Tokugawa era (1600-1868) included ninjutsu in itscurriculum. Who, then, comprised the ninja? The ninja were outsiders whoheld no loyalty to any Buddhist temple or samurai clan. It isbelieved that some masterless samurai (ronin) decided to becomemercenaries and sell their skills to the highest bidder. Some ofthese individuals established organizations designed solely formercenary activities. Generally, jonin-the leaders of ninjaorganizations-were ronin, as were the chunin, or middlemen, who arranged missions and acted as go-betweens when dealingwith a client. The agents who actually performed the missions were genin, or"lower men," who were taught only those skills considerednecessary for a particular assignment. Genin were trained asscouts, trackers, assassins and/or fighters, depending on theirmission. Because their training was limited to specialized skills,they were not nearly as thoroughly trained as their samurai orsohei counterparts. While it is true that many ninjaryu evolved from those of the Mikkyo Buddhist faith, othersdeveloped from other sects. It seems that Mikkyo Buddhism was central to the Iga ninjutsuclans, while Zen Buddhism was the faith of choice of thewarriors of the Koga area of Japan. Most ninja actually had little religious training, insteadmaintaining a basic indigenous faith, or possibly remainingloosely tied to their jonin's religion. This vague connectionallowed them the freedom to perform missions against any sohei temple or samurai clan.

3 of 4

Modern-day ninjutsu practitioners still practice many of the skillstheir forebears did, including wallscaling (1 2), rappeling (3) and underwater breathing (4), as wellas training with weapons such as blowguns (5) and shuriken (6).

Today's ninjutsu stylists often gather at special camps to conductexercises (1) and classical weapons drills (2).

Samurai and sohei skilled inninjutsu and trained to perform clandestine missions alwaysheld to a code of honor that would not allow them to be unfaithful to their religion ordisloyal to their lord or temple. The ninja, however, were notsimilarly bound by a code of honor. In dealing with the final false assumption-that ninjutsuencompasses a number of fighting systems-it should be notedthat when the late martial arts scholar, Seiko Fujita, categorizedthe bugei (martial arts) of Japan, he listed ninjutsu as simply oneof 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 howto covertly enter and exist in all types of places. In feudal Japan, it was the art of espionage and counterespionage. It wasoften applied to guerrilla warfare, helping a small force gainentry to a castle or province for the purpose of raiding theoccupants. 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 orhandling weapons. To be historically accurate, it would be proper to use the name of the ryu and then the art-the tenshinshoden katori shinto ryu kenjutsu, for example, or the tenshinshoden katori shinto ryu ninjutsu. While certain elements overlapin all martial arts, kenjutsu is kenjutsu, whether practiced by asamurai, sohei or ninja. There is one final ninjutsu fallacy that should be addressed.Although there are still people today who refer to themselves asninja, the fact is, in the classical, historical sense of the word,ninja no longer exist. When the Japanese feudal system fell in1868, and the emperor formally abolished the class system, alltitles relating to it died as well. There are no more samurai, nomore sohei, and no more ninja. These titles, apart from their

historical significance, mean nothing anymore. There are, however, still bugeisha andbudoka-i.e., martial artists. There are karateka, kempoka, judoka, aikidoka, etc. The ka suffixmeans "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 beviewed 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 stylewithout honor, and those who were called ninja never understood the true art as founded by thesohei 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 todisassociate 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

4 of 4

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.