Today Nagato sensei taught a new approach to Mutō Dori. Somehow his Taijutsu has evolved since I was there a few months ago. I shared this feeling with my friend Oliver Piskurek, who agreed. It amazes me that teachers like Nagato sensei can still improve their movements.
Nagato sensei is still moving in the same way, but it looks lighter and more powerful at the same time. In today’s training, I noticed two things. First, there is a new quality in his dynamic distancing. And second, he has increased the angling of his body in the footwork.
This is the new approach to Mutō Dori I was referring to.
Concerning the dynamic distancing. Nagato sensei receives the attacks with tiny backward steps. That keeps him out of reach but still able to get Uke’s balance at any moment. He will move backward to receive a Tsuki with a series of three or four small steps. This allowed him to stay at the limit of extension of Uke’s arm. Controlling the hand/forearm, he can then place his elbow to wrap Uke and throw him with a Ganseki nage or Ō Soto Gake. His typical style (changing hands, using the angles, hitting hard between the moves) remains. The only change is this more dynamic footwork keeping him off distance at all times.
Combined with this distancing is the angling of his body. He is often turning or pivoting his whole body at a 90-degree angle to receive the first attack. This angle forces Uke to twist his upper body. Because a double fist attack is fast, Uke has to launch his second fist at the same time he is turning the torso. The result is an off balancing of the body. This opens many Suki in Uke’s posture that Nagato sensei uses to destroy him. (1)
He said many times is that we have to learn to move like him step by step, and slow. Learning a complex sequence one move at a time is the best way to get it right.
We often train too fast. As a result, our brain and body cannot memorize the moves. Fast Taijutsu is the enemy of good Budō.
During class, Nagato sensei was always referring to his movements as being “Mutō Dori.” And I must say that it showed another facet of it. Each video by Hatsumi Sensei has “martial arts of distance” as a subtitle. That is what we trained today, a perfect illustration of how to master correct distance.
I teach Dai Shihan Only! This is how Hatsumi Sensei opened the class today. Classes are still opened to anyone. But what he teaches now is for those who, supposedly, understand the Bujinkan martial arts.
I write “supposedly” on purpose. With over 800 Dai Shihanacross the planet, I doubt all have the vast knowledge to teach students. This is sad and has been like that since the creation of the Bujinkan.
So for the sake of this post, we will assume there are only good ones.
Teaching only to Dai Shihan means that Sensei is moving away from the techniques to enter a new aspect of Mutō Dori. I would call it “Mutōsai Dori” or grabbing without control. (1)
He spoke of “Mutō Dori no Sekai,” the “dimension of Mutō Dori.” This is a new layer of the Bujinkan structure based on the proper understanding of Juppō Sesshō. (2)
Before the class, he showed us some new swords as he is doing now. What he explained might help you to get what is above.
After repeating he now has more than 200 rare swords of value, he presented us with a Kogarasu Maru blade. Please note the return of the god crow Yatagarasu.
This type of sword has a second cutting edge on the last part of the Mune above the Kissaki. The name is Kissaki Moroha Zukuri. (3)
The Kogarasu Maru blades with Kissaki Moroha Zukuri are a thing from the past. They were in use until the 12th century. With the need for more efficiency on the battlefield, they disappeared. They came back into “fashion” around the 19th century. (4)
I liked that Sensei showed how to put the sword back correctly into the Saya. At least if you want to keep your scabbard in one piece, and keep all your fingers. If you sheath the blade like a regular one, you will cut the wood inside the Saya and more likely cut yourself.
Then he showed two new Ninjatō. From the outside, they look like regular swords. But with a smaller blade, you can draw it faster even in a confined space by pulling the Saya to the back with the left hand. He said, “this is the iai of ninjutsu.”
Later during class, he asked a few Dai Shihan to show a technique from Tōsui no kamae. The metallic blade of the Ninjatō was black to avoid reflection. The Ninja would use a special charcoal coating. The smell of the charcoal layer was specific to each Ryū. So you knew if your opponent was from the same Ryū or not, by the scent of his blade. And you never fight a fellow member.
During all the demonstrations today, he insisted on the fact that “the reality is often fake.” We have to be aware of the unexpected. This is Mutō Dori no Sekai, you control Uke “by keeping an uncontrolled attitude, you are ready for anything.” It is like the concept of “Banpen Fugyō” from the Gyokko Ryū.
This is the type of Budō he wants us, Dai Shihan, to understand. Anyone can fight one opponent in a dōjō. The real fight always includes more than one attacker, and often not facing you. They attack when you do not watch, and carry hidden weapons. Fair play in a fight exists only in movies. To survive, we have to develop our sixth sense, be aware, and expect anything.
When you watch Sensei, it looks like Uke loses not by Sōke’s moves, but by his own expectations. “Don’t think!” now makes sense. And this is the only way to fight.
I also noticed that Sensei changed his way of teaching since the last time I was there. He is correcting the Dai Shihan when they do wrong.
From his seat, he yells: “your kamae is too stiff,” “use your knees,” “stop doing a technique,” “move freely with your blade,” “stop thinking.” That is new and refreshing. My students will stop complaining.
So, my advice. If you are a Dai Shihan but don’t feel like being corrected, then don’t bother coming here because as he said, he is “teaching Dai Shihan only!”.
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1/ 無統制, Mutōsai: uncontrolled 2/ 無刀取りの世界: Mutō Dori no Sekai then is “the dimension where the control is done by not controlling.” 3/ 切っ先諸刃空くり, Kissaki Moroha Zukuri: point of a double-edged blade thinning out 4/ http://www.ksky.ne.jp/~sumie99/kissakimoroha.html
Sensei introduced the class with a three-legged crow (stuffed). He told us that Yatagarasu (the crow) guided Emperor Jimmu in the Japanese invasion. (1)
Yatagarasu represents the will of heaven, it emanates from the sun goddess, Amateratsu. He added that Yatagarasu is often described also as a Karasu Tengu. (2) It is Ninjutsu related.
This excellent introduction done, he showed us two old ninjatō that he recently acquired. Their huge Tsuba were impressive. Small blades, but not straight; and with long scabbards like regular swords.
This is also 虚実, Kyojitsu, alternating truth, and lies. Deception is the essence of Ninjutsu. He said that we have to trust our feelings and expect the unexpected (like a short blade in a regular scabbard). Everything we train now is about Kankaku: feeling. (3)
A few years ago, Senō sensei told us that Kankaku and Waza were like our legs. We need both legs to walk. It is the same in Budō, we need technique and feeling. One leg is the Waza, and the other is Kankaku. If you develop only one leg, you get tired and don’t reach your destination.
As always with this language, there are many ways to understand “Kankaku” in Japanese. It is “feeling” and “intuition” at the same time. Intuition, from the Latin “intuitus” means to watch thoroughly or to contemplate. So, are our feelings linked to the way we look at things? If so, why is it translated by feeling? To understand this paradox, we must study each kanji.
When you separate the characters composing Kankaku, you get “Kan” and “Kaku.” “Kan” alone means “feeling.” (4) “Kaku” is more interesting, it means “to be able to read the mind.” (5) This ability to read the invisible; to read between the lines, is what we train now at Honbu. We have to hone our skills to feel the situation, space, and attacker altogether. Inside and outside. Twice during class, Sensei told us to be aware of our surrounding. We must “see” (intuitus) what we feel. During training, he asked us to attack our neighbors while doing the techniques.
Also, some Dai Shihan demonstrated the movements with their partners. But Nagase and Nakadai sensei were attacking them from dead angles. Sensei explained that the battlefield is a mess. Attacks often come from unseen directions. If you only focus on your opponent, you might end up dead.
In Kankaku, Kaku, (3) alone, is “Satori,” the same character for “enlightenment” they use in Zen. I guess that when you reach Satori, you can read your own mind. He also referred to Zen Buddhism after painting a circle on a piece of paper. It seems that all is connected, at least it felt like that yesterday night.
Our problem is that it is impossible to do. I guess this is why Sensei told us not to try to do things, but to move freely. One day it will work by itself. Then, this is why memorizing forms is useless.
But is it really unnecessary? (6) Playing with the sounds of “Kankaku,” it is interesting to see that “Kakueru” also means to “memorize.” (7) So could it be that we have to “memorize the feeling” to move without intent?
Also, 看過苦, “Kankaku, written in this way, could mean “turning a blind eye to pain.” (8) (9) Remember that we don’t know which “Kankaku” he is referring to when he says it. Is it 感覚 or 看過苦? We don’t know.
Trusting your feelings is the way to go after you learned the forms. There is no shortcut, It is only when you know something that you can forget it, and be natural. (10)
八咫烏, “eight-span crow,” Yatagarasu: “Yatagarasu as a crow-god is a symbol specifically of guidance. This great crow was sent from heaven as a guide for Emperor Jimmu on his initial journey from the region which would become Kumano to what would become Yamato, (Yoshino and then Kashihara). It is generally accepted that Yatagarasu is an incarnation of Taketsunimi no Mikoto, but none of the early surviving documentary records are quite so specific”. From https://en.wikipedia.org/wiki/Three-legged_crow
鴉天狗, Karasu Tengu: crow-billed goblin. This is the famous tengu with beak and wings that you see in Jiraya. Check the Wikipedia page HERE
Too many high ranks listen to sensei at the Omote level. They understand what they want, and do not follow the path of evolution Sensei has gone through. What he teaches today is the result of a whole life of training. Walk his path from the beginning, and don’t skip any lesson.
It was the normal chaos at the Bujinkan Honbu dojo. The training had just ended, and everyone rushed to get their photos with Hatsumi Sensei. I rushed to my notebook.
I did this because Soke finished the class with a huge surprise for his teaching of 無刀捕 mutōdori. He showed us 空間を作る kūkan o tsukuru, or how to create space. So I scribbled a note about the hidden location for this opening before that secret disappeared into the night.
Earlier that day, I had gone into Tokyo to visit Norio Yamada-san. He makes 江戸手描提灯 Edo Tegaki Chōchin, Edo style hand painted paper lanterns. He called to say my order was ready to pick up.
It never occurred to me that there could be a connection to Soke’s teaching later that night. Hatsumi Sensei said,
“You’re not evading, 空間 浮かす Kūkan ukasu, you’re floating the opponent in the space.”
If you’ve ever held one of these paper lanterns, they feel like you’ve caught light and air itself as it glows softly in the night.
Hatsumi Sensei catches swords like that. My training partner, Tezuka-san, swung a metal blade at Soke. And this is when my surprise arrived. Soke told us,
“Don’t do this with 刀意識 Tō ishiki.”
This means don’t put your mind or consciousness with the sword. Remember this is 無刀 mutō and the sword is nothingness. Instead create or open up the kūkan and float your opponent in it.
But where is this kūkan? It's the space in the opponent’s mind or consciousness. The physical space is only so big, but the kūkan in the mind is infinite. Control that space and you have already won. Tezuka-san said it feels like Hatsumi Sensei catches him in between thoughts.
Soke nodded and said,
“You have to know those spaces, those openings, those little cracks…”
When Hatsumi Sensei creates kūkan between your own thoughts and floats you in that empty space, you are very exposed. Anyone who has attacked Hatsumi Sensei might relate to that blanked out feeling. Whenever he asks me to describe it to the other students in the Honbu dojo, I fold up like a paper lantern.…
Bujinkan 提灯 Chouchin, Hatsumi and Takamatsu Sensei's 位牌. photo by Michael Glenn
The Bujinkan theme for our Spring training is set. Please study the idea 千変万化 Senpen Banka. This theme of innumerable changes is what Hatsumi Sensei gave us earlier this month.
When I returned from Japan, we held the annual 春修業 Haru Shūgyō All of the students were focused and trained hard to grow from this season’s theme. Here is a bit of what we studied.
We warmed up with 初心五型 Shoshin Gokei. Hatsumi Sensei has had a multi-year focus on 無刀捕 mutōdori, so we next did 五行の型 Gogyō no kata as mutōdori! If you’ve never studied this, it will really surprise you.
Hatsumi Sensei gave us perspective on this kind of 三心 sanshin. In the Hagakure, a famous quote says,
武士道といふは死ぬことと見つけたり The way of Bushido is found in death.
But Hatsumi Sensei told us this idea is often misunderstood. He said that in the Bujinkan we study the way of living, and to protect life. Soke said,
“武士道は生死生よう Bushido wa seishi seiyō”
This is similar to 生死一如 seishi'ichinyo which means that life and death are the same. But Soke added the third idea of rebirth. He said humans are born, then die and are reborn. This is Sanshin.
Every practice of mutōdori should be like this. Especially the Godan test! You must die under the blade to do proper mutōdori, but then you are reborn when you survive the attack.
We explored these ideas further with the kata 奏者 Sōsha and 引脇差 Hikiwkizashi. And we even did some basic 歩き方 arukikata and 足運び ashihakobi with the katana. This led to weapon retention henka.
All of this was to come at one idea from different angles. Because Soke told us,
We took a small break to have tea and springtime mochi (ひとくちすあま和生菓子). There was lots of silliness and dojo humor which I cannot share here! But this seemed to energize everyone for more training.
The students went hard with the kata 虎倒 Kotō. Everyone really got the spirit of what Hatsumi Sensei called 気合わせ kiawase. This is a matching or meeting of the attacker’s energy.
I shared my experience of attacking Hatsumi Sensei in Japan. He used the principle of 意識出す ishiki dasu. You remove your own intention from doing any technique. This is when the students said it felt like I disappeared!
Yep, that is how it feels to attack Soke.
Please study with us or go to Japan to keep your training fresh and up to date. If you are part of our dojo, or connected to us through Rojodojo, I think spending time with these Bujinkan themes during your Spring and early summer training will make you a better Budoka!
Japanese title: “Tsuki no Shô” (or sometimes “Tsukimi no Shô”) Title in French: “Written in the moonlight” Title in English: “Annotation (s) ) in the moonlight
The “tsuki no sho” is a strategic and philosophical treatise mainly about kenjutsu (saber warfare technique), written by one of the most famous fencers in Japanese history:
Yagyû Jûbei Mitsuyoshi (1607 – 1650). You will find here the complete transcript in modern Japanese. This transcription in modern Japanese comes from the book of Yoshio Imamura, published in April 1995: “Shiryô Yagyû Shinkage-Ryû (Vol.2)” (史料 柳生 新 陰 流 (下 巻)), of which she occupies about the first 70 pages (Pages 9 to 80).
Japanese title: “Tsuki no Shô” (or sometimes “Tsukimi no Shô”) Title in French: “Written in the moonlight” Title in English: “Annotation (s) ) in the moonlight
The “tsuki no sho” is a strategic and philosophical treatise mainly about kenjutsu (saber warfare technique), written by one of the most famous fencers in Japanese history:
Yagyû Jûbei Mitsuyoshi (1607 – 1650). You will find here the complete transcript in modern Japanese. This transcription in modern Japanese comes from the book of Yoshio Imamura, published in April 1995: “Shiryô Yagyû Shinkage-Ryû (Vol.2)” (史料 柳生 新 陰 流 (下 巻)), of which she occupies about the first 70 pages (Pages 9 to 80).
friends of Martal arts, it's strange, I make this tool for a long time, (first Yawara I was meke year 2000 for Ninpo Kai Pakrac.) and somehow I simply forgot to write about it on this blog. I'm not going to debate much about the name of this tool, in book about stick's Hatsumi sensei names him Yawara, but people also call it a Koppo stick, I'll use Soke's name for it. For start some basic training versions, normaly this could be use in selfdefence, but main purpose was for trainig. Since they do not have sharp edges, and they look simple, the possibility of unintentional injury is reduced to a minimum.
People make this tool from various materials and different types of wood. If we talk about training models it's good, however, if we know how to use Yawara and what is purpose of this kind tool, that is not good! Why? Yawara is a small weapon we use for self-defense, to be effective, for Yawara it is essential to be invisible! So if you have black or shine metal yawara's, black plastic or yawaras from exotic wood which is darker than your hands skin, it is like you say "here is my weapon". In that case, you have taken the element of surprise to your weapon, and therefore the chance to defend yourself from the attacker is minimal. This is reason why I make my Yawara's from beech wood, and leave them in natural color of beech wood, which is similar to the skin of the hands. Below is picture where Dean Sensei use beech wood(SPECWOG) yawara, you could see how hard is notice Yawara in his hand.
Now few Yawar's that I make special for Dean Rostohar's SPECWOG combat sistem, is "SPECWOG" yawara. This version is special design for combat, it is create to causes maximum pain, as you see there is a lot sharp ends. Nine years of research was spent on this design, so I took care of the smallest detail, such as the thickness of the human skin (by the way, the dimensions of the grooves on the yawara were made according to information on human skin). I also make them into four different sizes, so each person can choose yawara according to his size of palm. If you remember before I say that Yawara need to be hidden by the color but also by size, after all Yawara is sneaky "toy".
I have had the fortune of training with Hatsumi Sensei outdoors on a number of occasions. Each time it was unique, but on this day Soke waved his hand toward the students and told us today would be a test for the Jugodans.
It was a cool morning under the Japanese maples, so Hatsumi Sensei wore a quilted 羽織 haori which was the color of pearl. I don’t know if anyone else heard him, but he muttered the phrase “open sesame!” Because we were about to open a gate to hidden treasures.
One of those treasures arrived when Soke broke the attack of his opponent, causing his spine to arch back. Sensei hooked into his eyes with one finger. Then he dropped away to release the tension.
At this moment, he caught the fall of his uke with the position of his body. This had the effect of completely twisting the limbs and spine. And crushing like a trash compactor.
Hatsumi Sensei looked at all of us and said,
“全体駄目 zentai dame, or when everything is hopeless, there is that one point, 点眼 tengan, which is the kyūsho of taijutsu.”
I had never heard of tengan, but lucky for me, Soke explained by gesturing with his finger. Tengan is like when you use an eyedropper. It's like dropping a spot in the middle of an eye.
But tengan is a play on words. Change the kanji to 天眼, and it means the eyes of heaven, or divine eye. This is a Buddhist concept that suggests you can see in the darkness, or are clairvoyant. Harness perception that is almost supernatural.
The eye of heaven can see everything. The future, the past. It can see into your enemy’s mind. Now it is easy to predict his strategy or find his weakness.
Hatsumi Sensei drew a circle around that point in the air. He continued to explain,
“It’s not a point on the body. This is 急所丸 kyūsho maru. This is not something written in a scroll anywhere. This is for the jugodans. Please discover (発見 hakken) the kyūsho within the movement. You need to discover that for yourself.”
Since that day, I have been working to study kyūsho maru. It is an idea that ripples across all of my training like a drop in a pond. Here are a few of the ripples to consider.
The kanji for 急所丸 kyūsho maru can start us off. Kyūsho means a vital point, or an essential point. Maru means round, but like a true circle, it implies perfection. The kanji itself is 9 (九) plus one stroke. As Hatsumi Sensei is fond of saying, this equals 10 which is perfect in Japanese numerology.
So kyūsho maru is the “perfect kyūsho” for the moment. This kyūsho might be on the opponent’s body. But it can be anywhere in the kukan. When you consider that possibility, the implications for your training grow from that point.
At a basic level, I find the weak point in the kukan and attack it. But as I wrote in Kukan no Kyūshō 空間の九勝: Twisting Around a Moment in Space, you might use that kyūsho to pivot. You move around it in a state of flux. There is no fixed coordinate, no set technique.
These kyūsho are in the space itself, the kukan. They are in the emptiness. When you can attack those points, the results will be bigger than your own ability or your own strength.
Kashiwa Plaza Hotel Selfie
Some Jugodans will understand this, and some will not. I wrote before that kihon is the heart of an infinite circle. Kihon is a point in the middle of a circle, or in the middle of infinity.
Later that afternoon, as the sun broke through the gray clouds, Hatsumi Sensei described capturing these points,
“Within the flow of the kukan (kukan no nagare), you want to control these very small points such as the fingers, the eyes, or the breath. You’re taking those points, but in a way that it is difficult for the opponent to perceive what’s happening in that flow. This is what we’re studying.”
What was the test for us Jugodans? There is no easy answer to that. I am still testing.
Hatsumi Sensei had us all face the sun and bow to wrap up the day of training. I felt the warmth on my face. But the sun is just a bright point in infinity, hanging in emptiness.…
Ikai is a person who is present in the background to many of our schools.
In prehistory, Iga ryu, Gyokko Ryu and Togakure Ryu mentions a person by the name “Ikai” as an original source of these schools. Identifying Ikai [異 匀], with the alternative pronunciation “Ibou” ‘may be interpreted as “a charismatic person” (I; 異) from “foreign” (kai; 匀). The name can also be interpreted as “different person”, that is perhaps a “transgender”? A man dressed as a woman, or vice versa?
The sign [異] symbolizes “a person with demon head”. The Chinese pronunciation of these characters is “Yi Hui” or “Yi Gai”, but with the same meaning. A hypothetical conclusion to be drawn is that Ikai was a stranger and unusual even in China, perhaps initially of a people from eastern China.
In Hatsumi Sensei book Sengoku Ninpo Zukan (p.81) printed on 1978, Ikai was described as follows:
“During Huang You’s first year (possibly 1049), Ikai from Sijiang went into exile to the distant Japan, after losing the war against Ren Zong’s army, on the Qidan and Xia’s side. He came to Ise and settled in a cave in Iga.”
Sijiang is probably the same region as Shandong [山东] in today’s China. Because of its location on the North China Plain, Shandong area came into contact early on with the Chinese civilization whose cradle is just West of the present province. Both the first historical coated dynasties Shang Dynasty and Zhou Dynasty, controlled the western and central Shandong. The Shandong Peninsula was, for a long time outside the Chinese of influence. There lived the ethnic groups as the Chinese gave the name Dong Yi to, and who was regarded as barbaric, that is to say, nomadic.
The above-mentioned Ren Zong was Emperor Song Renzong of the Song Dynasty, ruled between 1023-1063. His real name was Zhan Zhen and was an emperor in the Northern Song Dynasty.
Xia is also known as Hsia and the Qidan are also known as Khitan. They were both a people who were related to Tungus, which in turn was a people who lived in northeastern Siberia. They were a significant nomadic people who dominated parts of what is today Manchuria and Inner Mongolia. The Russian word for China, Kitaj, is believed to originate from Khitan, as well as the older China name in English – Cathay.
If now Ikai had been a Chinese who fought on the Khitan and Hsia/Xia side against the Song Dynasty, then one can understand that he had to flee the Chinese continent in defeat, but it was more likely that he was a Khitan.
Oral tradition says that Ikai had been a general, and was very skilled in hicho ongyo no jutsu (飛鳥隠形之術). It was said that strangers, such as Ikai, Yi Gyokko (Yao Yu Hu) and Cho Busho (Zhang Wu Sheng) spread the knowledge of hichojutsu (飛鳥術), tode Koppojutsu (唐手骨法術), senban nage jutsu (旋盤投術) and the like to Japan. From this was born later Gyokko ryu kosshijutsu, Koto ryu koppojutsu, Gyokushin ryu kosshijutsu and Gikan ryu koppojutsu and others.
Considering that all the Koga ryu ninjutsu’s 53 traditions, and Iga ryu ninjutsu’s 30 traditions developed happo bikenjutsu based on Gyokko ryu’s teachings, the latter can be considered the oldest source of Japanese martial art.
Sakagami Clan’s Mon
In a text by Takamatsu, it says that Ikai had two students during the Johou period (1074-1077), namely Gamon Doshi and Hogenbo Tesshin. Ninjutsu was thus founded during the period between 1049 and 1077.
An alternative background for Ikai is that he was actually the same person as Hogenbo Tesshin. The reason is found in the book Essence of Ninjutsu, on pages 121-122. There, Takamatsu tells a story about an old man who talks to two students. The old man tells of the war when he fought on Kittan Ka’s (i.e., Khitan and Xia) side against King Jinso. Jinso is the Japanese pronunciation of the Chinese character for Renzong.
The story of the old man is consistent with the story of Ikai in Hatsumi sensei’s book Sengoku Ninpo Zukan (available in Japanese only). In Essence of ninjutsu, on page 122, it is mentioned that the old man is Hogenbo and the students are referred to as Ryutaro and Dosan.
According to the book, Ryutaro later became the great ninjutsu champion “Garyu Doshi” and Dosan survived further under the name Tendo Sakagami. This Tendo Sakagami can be the same person as Sakabe Tendo (mentioned in the prehistory of Togakure ryu and Shinden Fudo ryu Dakentaijutsu).
Otomo Clan’s Mon
According to oral tradition, when he came to Japan, Ikai was presented to the Otomo clan who offered him a sanctuary in the distant Iga region.
Otomo, which means “great escort”, was a military clan who was considered to be descendants of Amaterasus grandson who pacified Japan. The power of the Otomo clan extended from the early Yamato period (250–710) to the Sengoku period, thus stretching over 1100 years.
Between the Yamato and the Heian period, Otomo had high military records in the Imperial Court, such as the life guards captain of the Empress Suiko.
The most famous ninja family – Hattori – were members of this clan. According to a legend, the life guards consisted of warriors of the Hayato people and it is therefore possible that the Hattori family came from this indigenous people.
According to the same legend, Ikai (sometimes also referred to as Chan Basho in Koto ryu documentation) trained parts of the Otomo clan in a unique form of combat technique – i.e. It is known today as ninjutsu, kosshijutsu and koppjutsu.
