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The Last Ninja: Fujita Seiko ninjutsu history

ToryuMay 12, 2025

From 武神館兜龍 Bujinkan Toryu by Toryu

The Last Ninja: Fujita Seiko ninjutsu history

Fujita Seiko ninjutsu history about Fujita Seiko (藤田西湖) The Last Ninja, ninjutsu history, the 14th master of Koga-ryu (甲賀流) ninjutsu, is celebrated as Japan’s last true ninja. His autobiography, Doronron: The Last Ninja, offers a vivid account of his life, intertwining Fujita Seiko ninjutsu history with Japan’s evolving cultural and military landscape. This summary traces Seiko’s journey chronologically, from a fiery childhood to his role in wartime espionage and his post-war efforts to preserve ninjutsu.


A Rebellious Childhood and Early Influences (1899–1908)

Fujita Seiko ninjutsu history: The author
藤田西湖 Fujita Seiko “The Last Ninja”

Fujita Seiko ninjutsu history began on August 13, 1899, in Tokyo’s Asakusa district. Born Fujita Isamu, he was the second son of Morinosuke Hayata, a police detective renowned for capturing criminals like the infamous tailor Ginji. Seiko’s family had deep ties to the Tokugawa shogunate, serving as onmitsu (covert agents) for 300 years. This legacy set the stage for Seiko’s lifelong connection to ninjutsu, as his ancestors’ roles under Tokugawa Ieyasu relied heavily on espionage to maintain the shogunate’s stability.

Seiko’s childhood was marked by a fiery temperament. At six, he sought revenge for his brother’s bullying, attacking eleven older children with his father’s saber. “よし、おれが仇討ちに行つてやる” (Yoshi, ore ga adauchi ni itte yaru, “I’ll go take revenge!”), he declared, showcasing his boldness. This incident led to his temporary exile to Daiji Temple in Itsukaichi, where his rebellious streak continued. Seiko desecrated sacred statues in the temple’s Enma Hall, earning both punishment and a reputation as a troublemaker.

His early life was also shaped by tragedy. In 1905, Seiko nearly died from diphtheria, a near-death experience that left a lasting impact. His mother, Tori, revived him through sheer determination, forcing chopsticks wrapped in cotton down his throat to clear his airway. However, in 1908, on his ninth birthday, Tori succumbed to intestinal catarrh. “私は幼なごころにも悲しくて、毎日、裏山をみてはボンヤリ暮した” (Watashi wa osanagokoro ni mo kanashikute, mainichi, urayama o mite wa bonyari kurashita, “Even as a child, I was sad, spending each day staring blankly at the back mountain”), Seiko wrote, reflecting on his grief. This loss deepened his yearning for purpose, setting the stage for his immersion into ninjutsu.


Training in the Mountains and Koga-ryu Initiation (1908–1915)

The author walking on the toes
足の甲で歩き不具者を装う Feigning disability by walking on the tops of the feet

After his mother’s death, Fujita Seiko ninjutsu history took a spiritual turn. At seven, Seiko followed a group of yamabushi (mountain ascetics) into the mountains, seeking solace and adventure. For over 100 days, he lived among them, learning survival techniques like cooking rice in a buried cloth and enduring harsh conditions. This experience, though not formal ninjutsu training, honed his resilience, a trait crucial to his later mastery of Koga-ryu.

At nine, Seiko returned home, where his grandfather, Shintazaemon—the 13th Koga-ryu master—began his formal ninjutsu training. “お前は見どころがあるから、これから忍術の稽古をつけてやろうと思うが、どうだ、やる気があるか” (Omae wa midokoro ga aru kara, korekara ninjutsu no keiko o tsukete yarō to omou ga, dō da, yaruki ga aru ka, “You have potential, so I’ll train you in ninjutsu—do you have the will to do it?”), Shintazaemon asked. Seiko eagerly agreed, sealing their bond with a ceremonial 金打 kanau (clash their swords’ tsuba (guards) together to make a vow).

Seiko’s training was grueling. He practiced breathing techniques to remain undetected, attaching cotton to his lips to ensure silent respiration. He mastered tsumasaki aruki (tiptoe walking) to enhance stealth, enduring pain as he balanced on his toes for hours. He also strengthened his hands by thrusting them into sand, gravel, and clay, a practice that left his fingers bleeding but built formidable strength. These exercises were foundational to Fujita Seiko ninjutsu history, preparing him for the physical and mental demands of Koga-ryu.


A Ninja in a Modernizing Japan (1915–1930)

The author in his Ninja suit
The author dressed up as a Ninja

As Japan entered the Taishō era, Fujita Seiko ninjutsu history adapted to a changing world. In his teens, Seiko studied at universities like Waseda and Meiji but was expelled for his rebellious behavior. He eventually graduated from Nihon University’s religious studies program in 1919, balancing his education with journalism and martial arts instruction. These roles exposed him to modern ideas while keeping him rooted in ninjutsu traditions.

Seiko’s expertise in ninjutsu drew attention from military circles. He began teaching at institutions like the Army Toyama School, blending ancient ninja techniques with modern warfare. His skills in stealth, espionage, and survival made him a valuable asset, as Japan’s military ambitions grew. Seiko also explored esoteric practices, later documented in works like Shinshin no Maki – Jō, reflecting the spiritual depth of Fujita Seiko ninjutsu history.

During this period, Seiko inherited the title of 14th Koga-ryu master from his grandfather, a role that came with immense responsibility. He was one of the last keepers of a tradition that once boasted 53 Koga-ryu houses, a decline he attributed to the art’s secretive nature and rigorous demands. “忍術は、よほど克己心の強い者でなければ修業できない” (Ninjutsu wa, yohodo kokkishin no tsuyoi mono de nakereba shugyō dekinai, “Ninjutsu cannot be mastered without strong self-discipline”), he noted, highlighting why the art faded as Japan modernized.


Wartime Contributions and Disillusionment (1930–1945)

The author In China
March 1932, at Torasan. From left: Miura Makoto, Kamura Ryūjirō, the author

The Shōwa era brought Fujita Seiko ninjutsu history into the realm of warfare. During the Second Sino-Japanese War, Seiko traveled to occupied territories, using his skills to open safes and decipher codes. His ninjutsu expertise made him a key operative, often flying to China on urgent missions. As World War II escalated, he taught at Nakano School, training special forces in guerrilla tactics and psychological warfare.

Seiko’s wartime contributions extended beyond combat. He inspired troops with demonstrations like rope-escaping, symbolizing resilience. “日本は今、敵のためにガンジガラメになっているけれども、技術の鍛練と精神力によっては、この通り継も抜けられる” (Nihon wa ima, teki no tame ni ganjigarame ni natte iru keredomo, gijutsu no tanren to seishinryoku ni yotte wa, kono tōri nawa mo nukerareru, “Japan is now bound by the enemy, but with technical training and mental strength, you can escape ropes like this”), he told soldiers, boosting morale amid dire circumstances.

He also developed innovations like netsuryōgan (heat-retaining pills) for soldiers and Neo-Aochin, a stimulant later misused as Hiropon. However, Seiko grew disillusioned with military leaders’ self-interest, refusing honors to maintain his independence. “私は中将の前に出れば中将と友達づきあいに話したし、大将の前に出れば大将と同格に話した” (Watashi wa chūjō no mae ni dereba chūjō to tomodachi zukiai ni hanashita shi, taishō no mae ni dereba taishō to dōkaku ni hanashita, “I spoke to a lieutenant general as a friend, and to a general as an equal”), he wrote, emphasizing his refusal to bow to hierarchy.


Post-War Preservation and Legacy (1945–1958)

Fujita Seiko ninjutsu history: 500 needles in his body
The author setting a world record of 500 tatami needles inserted to his body.

After Japan’s defeat in 1945, Fujita Seiko ninjutsu history faced new challenges. The GHQ banned martial arts, viewing them as militaristic, but Seiko used this time to preserve Japan’s traditions. He founded the Japan Martial Arts Research Institute, compiling Bujutsu Ryūmeiroku, which documented 4,420 martial arts styles, including 71 ninjutsu schools. His work ensured that Koga-ryu’s legacy would endure, even as he remained its last practitioner.

Seiko criticized the sensationalized depictions of ninjutsu in media, advocating for its scientific and spiritual depth. “忍術ほど科学的で進歩的なものはなく、しかも武芸百般を総合し、精神と肉体の練磨において、このくらい厳しいものはない” (Ninjutsu hodo kagakuteki de shinpoteki na mono wa naku, shikamo bugei hyappan o sōgō shi, seishin to nikutai no renma ni oite, kono kurai kibishii mono wa nai, “Nothing is as scientific and progressive as ninjutsu, encompassing all martial arts, with such strict mental and physical training”), he asserted, emphasizing its true nature.

In 1958, Seiko published Doronron, reflecting on his 50-year journey as a ninja. He feared ninjutsu’s extinction, noting, “わが国の正しい忍術の道統は、私を最後として絶えるものとみなければならない” (Waga kuni no tadashii ninjutsu no dōtō wa, watashi o saigo to shite taeru mono to minakereba naranai, “Our country’s true ninjutsu tradition must be seen as ending with me”). Without a successor, he aimed to leave a record for future scholars, ensuring Fujita Seiko ninjutsu history would inspire generations.


The Enduring Impact of Fujita Seiko Ninjutsu History

Fujita Seiko ninjutsu history is a bridge between Japan’s past and present. From a rebellious child to a wartime operative and post-war scholar, Seiko’s life reflects the resilience of Koga-ryu ninjutsu. His contributions—whether training soldiers, preserving martial arts, or challenging stereotypes—highlight the depth of this ancient art. Through Doronron, Seiko’s legacy endures, offering a profound glimpse into the world of Japan’s last ninja and the enduring relevance of Fujita Seiko ninjutsu history.


This above was a summarisation translated from Japanese to English from the book…

『どろんろん (Doronron)』 by 藤田西湖 Fujita Seikō

First published in September 1958 (Shōwa 33), this autobiographical work spans over 370 pages and provides a vivid and personal look into the life of Fujita Seikō, the 14th head of the Kōga-ryū school of ninjutsu. Through stories, historical accounts, and training descriptions, it captures the vanishing traditions of the shinobi, combining rigorous martial instruction with folklore and philosophical insight.

About the Author

Fujita Seikō (real name: Isamu Fujita) was born in 1898 and raised as the heir to the Kōga-ryū ninjutsu tradition. Known as the “Last Ninja,” he received his early training from his grandfather and continued his path through ascetic mountain practice and secret missions during wartime. In addition to his martial prowess, he became a widely known expert in yoga, mysticism, and traditional Japanese martial arts. He was famous for feats such as walking on the tops of his feet to impersonate the disabled, and for enduring extreme physical training. His works provide rare insights into practical ninjutsu and its survival into the modern era. He passed away in 1966.

Fujita Seiko ninjutsu history: The book "Doronron"

The post The Last Ninja: Fujita Seiko ninjutsu history appeared first on 武神館兜龍 Bujinkan Toryu.…

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History of Ninjutsu: Seven Scabbard Cord Techniques

ToryuMay 5, 2025

From 武神館兜龍 Bujinkan Toryu by Toryu

History of Ninjutsu: Seven Scabbard Cord Techniques

下緒七術 SHITAO SHICHIJUTSU (Seven Scabbard Cord Techniques) Page 201-204.

Seven Scabbard Cord Techniques. The scabbard cord (sageo) is a flat, woven strap attached to a protrusion called the chestnut shape (kurigata), located seven or eight sun (21–24 cm) from the scabbard’s mouth, on the outer side when the sword is worn. Typically, the sageo secures the scabbard to the waistband to prevent it from slipping, with a standard length of six shaku (about 1.8 m). However, ninja swords use longer cords, ranging from eight to twelve shaku (2.4–3.6 m), designed for versatile applications.

1. 座探しの術 ZAGASHI NO JUTSU (Technique of Searching While Seated)

As noted in the Art of Probing the Seat, the sageo is held taut in the mouth to keep the sword secure while probing in darkness, making it one of the seven sageo techniques.

    2. 止血・縛技の術 SHUKKETSU / SHIBARI-WAZA NO JUTSU (Technique for Hemostasis and Restraint)

    During combat, if the waistband or belt is cut, or when rising abruptly at night and unable to find the belt, use the sageo as a substitute. For wounds, cut the sageo to an appropriate length and tightly bind above the injury (closer to the heart for limbs) to temporarily stop bleeding. To restrain a captured enemy, use the eight-to-twelve-shaku sageo as a quick-binding rope.
    The “Finger-Lock Rope” or “Six-Inch Rope” method involves crossing the enemy’s hands behind their back, overlapping the fingers, and tying the thumbs’ joints in a cross pattern—six inches of cord suffice. A twelve-shaku sageo can bind six or seven enemies in a chain-like formation.

      3. 用心縄・通路仕掛の術 YŌJIN-NAWA / TSŪRO-JIKAKE NO JUTSU (Caution Rope / Corridor Trap Technique)

      As detailed later in the six articles on caution ropes, use the sageo as a low tripwire (set at knee height) stretched horizontally across a bedroom entrance. An enemy stepping in trips over the rope and falls, allowing the ninja, half-risen from the room’s center, to strike with a surprise slash (see illustratio

        4. 釣刀の法 TSURIGATANA NO HŌ (Sword-Hoisting Method)

        When scaling a wall, plant the ninja sword’s scabbard tip into the ground, using the sword and scabbard as a step. Place a foot on the guard to leap upward, grabbing the wall’s top. Hold one end of the sageo in the mouth while climbing, then pull the sword up by the sageo from atop the wall. This is called the Sword-Pulling Method.

          5. 幕張りの術 MAKUHARI NO JUTSU (Curtain-Pitching Technique)

          During wilderness camping, ninja tie four standing poles with sageo, drape oiled paper over them to form a tent, and shelter from rain, dew, or snow. For snow camping, gather dozens of fist-sized stones, arrange them in a layer, and build a fire atop them. After extinguishing the fire, lay dry grass on the warm stones, warm yourself with a dual-purpose matchlock tube (described later) tucked inside your clothing, and sleep.

            6. 旅枕の法 TABIMAKURA NO HŌ (Travel Pillow Method)

            For sleeping while traveling, tie the sageo of the long and short swords together, lay the taut sageo under your body, place the two swords upright, and lie atop them. The sageo runs horizontally under your back, with the long sword on the left and the short sword on the right, your body between them. Sleep hugging the long sword with your left arm.
            If a thief or enemy tries to steal the swords during deep sleep, the sageo’s movement under your back wakes you. Instantly, while still lying, fling the scabbard toward your feet, draw the blade toward your head, and thrust at the enemy. Ninja draw their swords by throwing the scabbard in the opposite direction, halving the time needed to unsheathe compared to standard methods.
            When pursuing an enemy or fleeing in haste without time to retie the waistband, tie the swords’ sageo together, loop it around your neck, let the swords dangle in front, and run while retying the waistband to secure them at the waist.

              7. 鑓止めの術 YARIU-DOME NO JUTSU (Spear-Stopping Technique)

              This sword technique immobilizes an enemy wielding a long weapon like a spear or long sword, rendering it useless, and allows a thrusting strike. Draw the ninja sword with its scabbard from the waist, quickly tie one end of the sageo to the hilt, and unsheathe the blade, holding it in the left hand with the scabbard’s mouth facing you. Extend the scabbard in the right hand toward the enemy at eye level, raise the blade in the left hand to an upper stance, with the sageo taut vertically along your right side. Wait calmly in this stance.
              If the enemy’s spear thrusts low toward your abdomen, cross the blade and scabbard to catch it, press it to the ground, kick the shaft to pin it, and thrust the blade to fell the enemy. If aimed high at your face, cross the blade and scabbard upward to parry the shaft, ready the blade forward, and thrust to kill.
              If the spear aims at your chest and passes to the right of the sageo, step slightly left-diagonal forward, parry the spear tip rightward, raise your right elbow to clamp the shaft under your right arm, swiftly swap the blade and scabbard between hands, and open your arms to wrap the sageo around the shaft, binding it. Restrict the spear’s thrusting or pulling, step in at the right moment, and thrust the flat blade into the enemy’s chest to kill. If the spear passes to the sageo’s left, step right-diagonal forward, parry the spear leftward, clamp the shaft under your left armpit, swap blade and scabbard, wrap the sageo around the shaft to immobilize it, and thrust as before to kill.

                These are the Seven Scabbard Cord Techniques, fully utilizing the sageo’s potential.


                This above was just one section translated from Japanese to English from the book…

                忍術の研究 Ninjutsu no Kenkyū by 名和弓推 Yumio Nawa

                First published on November 1, 1972. It contains approximately 85,000 words across 377 pages, including around 50 pages of illustrations and index. The work explores historical ninjutsu, martial strategies, and their relevance to contemporary life.

                About the Author
                Yumio Nawa (real name: Sadatoshi Nawa) was born in 1912 (Meiji 45) into a samurai family of the Ogaki-Toda domain. He was the Sōke (headmaster) of Masaki-ryū Manrikigusari-jutsu and Edo Machikata Jitte-jutsu. His other works include A History of Torture and Punishment, Studies of Jitte and Hojō, and Weapons of the Shinobi, among others. He served as an executive director of the Society for the Research and Preservation of Japanese Armor and Arms, and a standing director of the Japan Writers Club. At the time of publication, he resided in Asagaya-Minami, Suginami Ward, Tokyo.

                The post History of Ninjutsu: Seven Scabbard Cord Techniques appeared first on 武神館兜龍 Bujinkan Toryu.…

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                History of Ninjutsu: Ninja Running Techniques

                ToryuApril 28, 2025

                From 武神館兜龍 Bujinkan Toryu by Toryu

                History of Ninjutsu: Ninja Running Techniques

                Ninja Running Techniques, the importance of running for ninja is evident from the escape story of Nikuruma Inosuke, as mentioned earlier. Terms like “swift-footed” or “fast-footed group” are entirely fitting for ninja.

                横走り Yoko-bashiri (Side Running)

                A distinctive ninja running technique is side running. With their back against a wall, holding a sword facing forward toward an enemy, ninja run sideways. This method is ideal for navigating narrow spaces, such as those only chest-width wide.
                The legs cross deeply in a zigzag pattern, then spread wide to the right or left in a large X-shape, repeating to move sideways, either running or hopping. In side running, even cutting through the wind, the mouth avoids air resistance, and there’s no worry of dust entering the eyes. One can eat, shout to communicate with allies, or even urinate while running. Once mastered, side running is said to be far more convenient than normal running.

                斜め走り Naname-bashiri (Diagonal Running)

                When ascending steep slopes, running straight up is less efficient than running diagonally. Zigzagging by running diagonally right, then diagonally left, is easier and helps evade enemy gunfire or arrows. Slightly lowering the face during diagonal running reduces air resistance at the mouth. Arm movement is crucial: crossing both arms broadly in front of the chest and swinging them wide imparts momentum, propelling the legs diagonally as if leaping, increasing speed and reducing fatigue.

                後ろ走り Ushiro-bashiro (Backward Running)

                While backward walking is possible, backward running is slow, and the terrain ahead is hard to see, making it frightening and impractical. I believe backward running is a ninja trick.
                Experiments in dim light show most people fail to notice this ruse, supporting my hypothesis. Backward running is used when pursued and at risk of being cut down from behind. The ninja turns to face the approaching enemy, holding the sword in a seigan (eye-level) stance or spewing fire and smoke from the mouth, then flees backward at high speed while maintaining this posture (see frontispiece illustration).
                During infiltration, ninja carry a demon or tengu mask preloaded with fireworks in their chest. When pursued closely, they ignite the firework’s fuse, place the mask on the back of their head, and, while holding the sword backward, run forward. To the enemy, it appears the ninja is retreating backward while facing them with a sword. As noted in the attire section, sandals must have heel-stop fittings.

                暗闇を疾走する法 Kurayami o Shissō suru Hō (The Method of Running Swiftly Through Darkness)

                The infamous “Sermon Bandit” from Taisho-era crime history, who broke into homes, assaulted women, stole valuables, and stayed from midnight to dawn, offers a relevant example. He preached to households, advising them to brighten the outside and darken the inside for safety or to keep dogs, biding time until just before the first train, then fleeing at high speed through the dark, breaking through police cordons before they tightened, escaping beyond their reach. His knack for sprinting through darkness kept him elusive. This ninja-like figure, Tsumaki Matsukichi, claimed to be from the mountains.

                When captured and asked how he ran through darkness, Tsumaki Matsukichi’s response mirrored ninja techniques, prompting me to ponder the connection between mountain life and ninjutsu. He explained: Holding a bamboo sword or long bamboo staff straight ahead horizontally, he lowered his face (since the dark obscured vision) and ran. When hitting a wall or obstacle, he bent his arm to absorb the impact, changed direction, and continued running in the same posture. The bamboo acted as an antenna.

                One of the Seven Techniques of the Saya Cord

                座さがしの術 Za Sagashi no Jutsu

                Ninja used the same principle to sprint through dark paths, but instead of a bamboo sword or staff, they employed the Zasaguri no Jutsu (probing technique) from the seven sageo arts. Holding the sword and scabbard horizontally forward, with the sageo’s end in their mouth to suspend the sword, they lowered their face and ran. When the scabbard’s tip hit an obstacle, it snapped back onto the blade, cushioning the impact as the scabbard slid. Ninja swords had sturdy iron kojiri (end caps), a reinforcing band, a ring-shaped kurigata (cord loop), and a robust koguchi (scabbard mouth) fitting, making scabbard damage highly unlikely.


                This above about Ninja Running techniques was just one section translated from Japanese to English from the book…

                忍術の研究 Ninjutsu no Kenkyū by 名和弓推 Yumio Nawa

                First published on November 1, 1972. It contains approximately 85,000 words across 377 pages, including around 50 pages of illustrations and index. The work explores historical ninjutsu, martial strategies, and their relevance to contemporary life.

                About the Author
                Yumio Nawa (real name: Sadatoshi Nawa) was born in 1912 (Meiji 45) into a samurai family of the Ogaki-Toda domain. He was the Sōke (headmaster) of Masaki-ryū Manrikigusari-jutsu and Edo Machikata Jitte-jutsu. His other works include A History of Torture and Punishment, Studies of Jitte and Hojō, and Weapons of the Shinobi, among others. He served as an executive director of the Society for the Research and Preservation of Japanese Armor and Arms, and a standing director of the Japan Writers Club. At the time of publication, he resided in Asagaya-Minami, Suginami Ward, Tokyo.

                The post History of Ninjutsu: Ninja Running Techniques appeared first on 武神館兜龍 Bujinkan Toryu.…

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                History of Ninjutsu: Ninja Jumping Techniques

                ToryuApril 25, 2025

                From 武神館兜龍 Bujinkan Toryu by Toryu

                History of Ninjutsu: Ninja Jumping Techniques

                Ninja Jumping often need to escape by leaping over obstacles or walls, grabbing onto house eaves, or dodging sideways in the blink of an eye to hide from enemies. They may also have to jump across rivers too wide for pursuers or leap from low to high places to evade capture. When infiltrating enemy castles or houses, the ability to fly like a bird would render defenses and ambushes nearly irrelevant.

                Ninja techniques include the Six Jumping Methods, encompassing six types of jumps:

                1. Forward Jump (Mae-tobi)
                2. Backward Jump (Ushiro-tobi)
                3. High Jump (Taka-tobi)
                4. Long Jump (Haba-tobi)
                5. Side Jump (Yoko-tobi)
                6. Diagonal Jump (Naname-tobi)

                The standards are a high jump of 9 shaku (2.7 m), a long jump of 18 shaku (5.4 m), and a downward jump of 50 shaku (15 m). These figures likely represent ideal targets for ninja training. Beyond these, jumps were performed in pairs or trios or with tools.

                忍びの跳躍訓練 Shinobi no Chōyaku Kunren (Ninja Jump Training)

                To leap effectively, one must be light. Ninja regularly used slimming medicines made from wild coix seeds, ate tofu as a staple to maintain nutrition without gaining fat, and underwent rigorous, balanced daily training. This reduced excess fat, tightened muscles, and developed a flexible, resilient, steel-like physique.

                During intense physical training, ninja reportedly wore deer leather undergarments. Sweating from vigorous movement wetted the leather, causing it to cling and constrict the body. Enduring this discomfort during training gradually slimmed the body and reduced sweating, as body odor could betray a ninja’s presence.

                Jump training involved sowing hemp seeds in a plot of land and waiting for germination. Hemp grows rapidly, stretching taller daily. Ninja practiced jumping over it—forward, backward, sideways, and diagonally. Initially easy, the task grew harder as the hemp grew. Such training for about three years was necessary to become a competent ninja.

                二人組人馬興業停止令 Futarigumi Jinba Kōgyō Teishi Rei (Two-Person Horseback Technique)

                The term “ninba” (human horse) refers to a mid-Edo period spectacle, akin to modern circus acts, but I believe it originated as a ninja technique for leaping over high walls. Historical records claim it was devised in the Genroku era (1688–1704) for performances, but I suspect it’s older.

                In Kyoto, a performer named Numa from Kinbuya Tabee, during the Genroku era, went to Edo, joined the equestrian Sasaki Heima’s school, and allegedly created the ninba technique inspired by equestrian skills. However, equestrianism and ninba share no technical similarities.

                The Rakushu Genbun Taiheiki, Volume 4, mentions Sasaki Heima’s fame and ninba’s ability to astonish audiences. On July 24, Genbun 5 (1740), ninba performances were banned again. Though presented as derived from equestrianism, I believe destitute ninja, no longer receiving stipends, used their trained ninba skills in performances. Records show ninba was banned three times.

                The Seihōroku, in an entry for April, Hōei 4 (1707), notes: “Recently, various acrobatics called ninba have gathered crowds, leading to imitators and potential misconduct, so ninba and other acrobatic performances are henceforth prohibited.” Another ban was issued in Genbun 5 (1740), and on May 11, Kanpō 2 (1742), the Asakusa-ji Diary records the dismantling of an acrobatics booth at Asakusa Temple due to concerns that “undesirable people learning and using it could lead to trouble.” The bans were issued because ninba could be misused by thieves if publicly displayed.

                Was ninba such a shocking technique to warrant such scrutiny?

                二人組人馬の技法 Futarigumi Jinba no Gihō (Two-Person Ninba Technique)

                Jumping over a 10-meter-high wall or obstacle without tools is difficult, but with the two-person ninba technique, ninja could soar like birds (see frontispiece illustration).

                One person stands with another on their shoulders, facing a high wall. For stability, the upper person places their feet on the lower’s shoulders, firmly grips the lower’s head, and crouches to avoid falling, timing the takeoff. The lower person holds the upper’s legs for stability. Both synchronize their breathing, sprint toward the wall or obstacle at tremendous speed, and at the optimal distance, the upper person kicks off the shoulders to leap, while the lower throws the upper’s legs upward. With the momentum of the sprint and elastic body movement, the black shadow arcs through the air like a projectile, clearing the obstacle.

                For house infiltration, once one ninja lands inside, they throw a climbing rope outside, easily pulling the other over the wall (see illustration).

                三人組人馬の技法 Sanningumi Jinba no Gihō (Three-Person Ninba Technique)

                For obstacles over 10 meters that a two-person ninba cannot clear, a three-person technique is used. One person sits on a stone 4–5 meters from the obstacle, facing away, knees aligned horizontally. A second person stands naturally on the seated person’s back. The jumper starts a sprint from as far as 10 meters away, steps onto the seated person’s knees as a launch platform, and leaps upward. Just before, the seated person supports the jumper’s soles or thighs, and the standing person grips the jumper’s torso, all synchronizing to hurl the jumper high over the obstacle (see frontispiece illustration).

                These flight techniques are most dangerous during landing, and until mastered, they reportedly cause frequent fractures, sprains, and bruises. I once saw the Soviet Russian Ballet perform a Cossack dance where dancers leaped high from the stage’s back, soaring over others to land at the front, using a method nearly identical to the three-person ninba. This technique likely originated in mainland China, spread north to the Cossacks, and eastward to Japan with ninjutsu. The claim it was devised from equestrianism in the Genroku era is likely a ninja cover story or jest.

                Hop, Step, Jump

                With a four-person team, jumping onto a 3–4-meter wall is simpler. One person leans against the wall, hands on it, head lowered, standing naturally. A second person firmly grasps the first’s waist, braces their feet, tilts their head right or left, and flattens their back. A third person hugs the second’s legs, crouches low, and flattens their back. The jumper sprints, using a triple-jump approach, stepping on the first, second, and third person’s backs, then leaping from the third to grab the wall’s edge (see frontispiece illustration).

                Tool-Assisted Methods

                Using a sturdy long board and a stone, create a seesaw. The jumper stands on one end, and another person jumps from their shoulders onto the raised end, launching the jumper over the wall. Pole vaulting with a spear or pole, or swinging across with a climbing rope like a pendulum, were also used.


                This above about Ninja Jumping techniques was just one section translated from Japanese to English from the book…

                忍術の研究 Ninjutsu no Kenkyū by 名和弓推 Yumio Nawa

                First published on November 1, 1972. It contains approximately 85,000 words across 377 pages, including around 50 pages of illustrations and index. The work explores historical ninjutsu, martial strategies, and their relevance to contemporary life.

                About the Author
                Yumio Nawa (real name: Sadatoshi Nawa) was born in 1912 (Meiji 45) into a samurai family of the Ogaki-Toda domain. He was the Sōke (headmaster) of Masaki-ryū Manrikigusari-jutsu and Edo Machikata Jitte-jutsu. His other works include A History of Torture and Punishment, Studies of Jitte and Hojō, and Weapons of the Shinobi, among others. He served as an executive director of the Society for the Research and Preservation of Japanese Armor and Arms, and a standing director of the Japan Writers Club. At the time of publication, he resided in Asagaya-Minami, Suginami Ward, Tokyo.

                The post History of Ninjutsu: Ninja Jumping Techniques appeared first on 武神館兜龍 Bujinkan Toryu.…

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                暗殺 Ansatsu: Japan Report Three 令和6年

                MichaelApril 21, 2025April 21, 2025

                From Bujinkan Santa Monica by Michael


                I rose early to catch a train. First I boarded the Jōban line, then transferred to the Toei subway to catch the Ōedo line. I warmed to the early morning sunlight because my trip had a dark destination. I was up to investigate the sites of two assassinations, or 暗殺 ansatsu.

                If you would like to support my Japan reports, get the FULL video of this Japan Report here: https://www.rojodojo.com/ansatsu-japan-report-three-reiwa6/

                I wandered the neighborhood following a hand drawn map from the 幕末 Bakumatsu era. The map actually marked with red ink where blood was found on the street at the site of the murders. The first ansatsu was at 中ノ橋 Naka no Hashi.

                Henry Heusken was born in Holland, but his family moved to the United States. He learned many languages and was asked to travel with the American Legation to act as a translator for the first Consul to Japan, Townsend Harris. He really took to Japan, dating women, and traveling freely even though foreigners were regarded with great suspicion in those days.

                He ran afoul of the locals for a few reasons. First, he had a Japanese common law wife and child. He also had a fondness for horseback riding. But this was something that was reserved for the Samurai class. This really upset the Rōnin who disagreed with the Shōgunate and any attempt to open the country to foreigners.

                暗殺 Ansatsu

                One night, after he was returning from a party, a band of Rōnin called the 老士組 Rōshigumi ambushed him at the bridge. He was basically disemboweled, and he lay in the street for awhile before anyone came to his aid. He died later that night.

                Visiting these crime scenes seems like a weird thing to do in Japan. What does it have to do with martial arts? If you understand the history of Japan, you know it is closely intertwined with Samurai and martial culture. Visiting these places helps me understand and connect to this history.  

                That was a very chaotic period in Japan, and justice for Henry didn’t arrive until 3 years later. This was when 清河八郎 Kiyokawa Hachirō, one of the leaders of the Rōshigumi was hunted down in a second ansatsu. He was found in the same neighborhood, just a few blocks away.

                Kiyokawa had aligned his group of Rōnin with the Emperor going against the Shōgun. But the Emperor did not want this alliance. This left the Rōshigumi as nothing more than a group of thugs and terrorists.

                Another group of samurai loyal to the Shōgun and led by 佐々木只三郎 Sasaki Tadasaburō confronted Kiyokawa at 一之橋 Ichi no Hashi. All these men knew one another, so he might not have suspected anything as they approached. In fact, one witness said they called out to him, “Kiyokawa Sensei” and, as he acknowledged them, they cut him down. Was it a politcal ansatsu, some kind of justice, or just an act of vengance?

                After that excursion we met up with Furuta Sensei who gave us a ride to his home dojo out in the countryside of Ibaraki. The dojo was cold so he turned on the heater. But we warmed up quickly with ukemi practice.

                One drill we did was to start curled up at the intersection of the tatami, and then roll in eight directions. After each angle, the goal was to return to the starting point. These rolls had to be very small and controlled.

                After that we studied some basic striking using a three part punch. It starts with a 指環拳 shikan ken that changes into a 不動拳 Fudō ken, then slides into 手起拳 shuki ken. As one strike becomes three, your other fist is hidden from the opponent. But it also does three strikes. Then, the foot delivers three kicks. This was all done in a flow to break the opponent down.

                Furuta Sensei evolved this training to draw hidden weapons during the three part strike. And he extended this line of training into long weapons. He started with an 大太刀 Ōdachi.

                With a long sword, you don’t hack away like mowing down grass. You still use the kissaki to cut. As the kissaki drives into the target, a small turn in your body creates the cut. Furuta Sensei told us it was born from sanshin no kata.

                He did the same with the 薙刀 Naginata. He showed us how to balance it in our grip. Then he taught how to cut with the body.

                Furuta Sensei then spoke about countering long weapons. He said that Bujinkan people always have 9 kunai or 9 shuriken. So you attack with these ranged weapons until you create a gap to close distance. Then at close range the long weapon is not as functional for your opponent.

                We had a lot of fun in that class. And Furuta Sensei is very generous. After class he drove me all the way back to the curbside of my hotel. I said it was like a Bujinkan taxi. At home, I often do the same for some of my students who ride the metro to attend class. I still remember when I was a young man and had two hour bus rides to go to class. So it is good to pay it forward.

                Up Next: Japan Report Four 令和6年

                 
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