From 武神館兜龍 Bujinkan Toryu by Toryu

In martial arts, passion as the Source of Training Motivation. This “heat of passion” transforms training from a mechanical repetition of techniques into a journey toward mastery. Without this energy, your training can stagnate, failing to reach the true essence of the art. Just as iron loses its potential when it cools before being fully forged, a martial artist loses purpose without the fire of passion.

Heat and Spirit in the Training

In Japanese, “heat” (netsu) connects to numerous words that reflect the intensity required to master any art form. Nesshin (熱心) represents “enthusiasm” or “spirit fueled by heat”; nekkyo (熱狂) signifies “excitement”; and netsuretsu (熱烈) translates as “passionate.” These words reveal how essential fiery intensity is when shaping or transforming anything, including a martial artist. Each training session becomes an opportunity to cultivate this heat, constantly working on weaknesses and enhancing strengths. The cycle of passion and perseverance propels personal growth.

“The path is simple; it is the heart that makes it difficult.” — Anonymous samurai proverb.

Mastery Through Passion: Attaining the Gokui

Martial arts contain a concept known as the Gokui (極意), which translates as “mastering the secrets.” These secrets are often found in ancient scrolls, written in language that obscures their meaning to prevent uninitiated readers from accessing them. They may seem simple, but understanding how to apply these teachings requires time and experience. For example, the formula for calculating a circle’s circumference (C = πD) seems straightforward, yet immense effort and insight were needed to discover it. Similarly, in martial arts, knowing techniques or kata alone isn’t enough. The secrets lie in how these insights connect and transform practice into understanding.

“The man who has attained mastery does not hold on to fixed forms.” — Takuan Sōhō.

Levels of Mastery in Martial Lineages

In authentic martial traditions, growth continues beyond any predefined endpoint. My teachers teacher, Toshitsugu Takamatsu, imparted four levels of mastery: Shoden (初伝), “beginning transmission”; Chuden (中伝), “middle transmission”; Okuden (奥伝), “inner transmission”; and finally Kaiden (皆伝), or “total transmission.” These levels guide students from basic skill to complete understanding of the lineage’s training method. From there, the practitioner must pursue personal mastery.

Each level serves as a foundation for deeper insights and techniques, yet mastery remains an ongoing journey.

“Mastery is not a goal but a journey, a path never fully traveled.” — Yagyū Munenori.

Training Without Limit: Beyond Techniques

People often ask how many techniques a martial artist knows, as if mastery were a checklist. But in living martial traditions, it’s not the number of techniques that matters—it’s how passion guides you to apply and internalize them. 武風一貫 Bufu Ikkan, or consistent and earnest training, surpasses the memorization of techniques alone. Memorization doesn’t lead to mastery; only a deep-rooted passion can transform knowledge into skill and skill into enlightenment.

Footnotes

1. Netsu (熱) – Kanji for “heat,” representing the essential force behind enthusiasm, ardor, and passion.
2. Nesshin (熱心) – Combination of netsu (熱, heat) and shin (心, spirit or heart), meaning “enthusiasm.”
3. Gokui (極意) – Means “mastering the secrets”; goku (極) for “extreme” and i (意) for “intent or meaning.”
4. Bufu Ikkan (武風一貫) – Means “consistent observation of martial wind or tradition.”
5. Shoden (初伝) – “Beginning transmission,” with sho (初) meaning “first” or “beginning,” and den (伝) meaning “transmission.”

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From 武神館兜龍 Bujinkan Toryu by Toryu

This text about don’t forget about solo training summarizes a chapter from Masaaki Hatsumi’s “Hiden Togakure Ryū Ninpō.” It emphasizes the importance of solo training in martial arts, drawing on Hatsumi’s experiences in nature.

Don’t Forget Solo Training – A Vital Part of Martial Arts Mastery

In modern martial arts, practitioners often neglect solo training, focusing solely on group classes and teacher-led instruction. However, the author of “Hiden Togakure Ryu Ninpo” highlights the importance of solitary practice, drawing on personal experiences from the Japanese warrior tradition. Early training involved long, isolated periods in the mountains, where nature became the author’s sparring partner.

Trees, branches, and roots replaced human opponents, offering unique challenges for strikes, throws, and sweeps. This form of training developed not only physical skills but also mental clarity, awareness, and the ability to read the environment. Including the animals inhabiting the forest. Through this process, the practitioner learned valuable lessons about both the martial arts and life itself.

Solo Training vs. Group Instruction

While an excellent teacher is a significant asset. The author argues that martial arts students often encounter teachers who lack the depth of knowledge they claim to possess. Relying entirely on such instruction can lead to becoming a “puppet,” performing techniques without genuine understanding. In contrast, solo training forces the individual to develop their skills through personal trial and error. Leading to a deeper, more authentic mastery. The freedom to explore techniques independently can foster creativity and self-discovery that structured classes may stifle.

The Role of the Teacher

Interestingly, even when a skilled teacher is available, students may still choose to train independently. The author, as a martial arts instructor, has observed that some students prefer their methods. Even when they may be misguided.

In such cases, rather than forcing the student to adhere strictly to the teacher’s lessons. The author allows them to follow their path. This hands-off approach can sometimes lead the student to unexpected learning moments. Much like an apprentice who absorbs knowledge through prolonged exposure rather than direct instruction.

The Balance Between Discipline and Freedom

The key to effective martial arts training lies in balancing discipline with freedom. Overloading a student with too many lessons can be counterproductive, leading to burnout or confusion. The author believes in allowing students to progress at their own pace. Offering advanced techniques only to those who are ready to handle them. True martial arts mastery isn’t about memorizing countless moves or self-defense tricks—it’s about cultivating awareness, mental clarity, and readiness.

Solo Training and Broader Learning

The author encourages martial arts students, especially young ones, to embrace solo training as a part of their personal growth. Martial arts is not just about physical combat but a holistic discipline that includes philosophy, psychology, history, and even subjects like physics and chemistry. By being fascinated with martial arts, students can find motivation in every area of life. Turning each experience into an opportunity for learning and self-improvement.

The Philosophy of Continuous Learning

Ultimately, martial arts is a lifelong journey. The phrase “Jinsei hitori geiko nari” (“Life is made up of solo training”) encapsulates this philosophy. Every moment of life, whether in the dojo or outside, offers lessons if one remains open and committed to self-examination. Solo training not only builds martial arts skills but also fosters personal growth. Leading to a life rich in discoveries and insights.

In conclusion, solo training should not be forgotten. It is a powerful tool for developing both the body and the mind. Enabling martial artists to achieve true mastery and personal fulfillment.

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More about this book

戸隠忍法流・生きる知恵
秘伝戸隠流忍法
初見良昭著
1989年4月30日発行

Togakure Ninpō Ryū: Wisdom of Living
Hiden Togakure Ryū Ninpō (Secret Tradition of Togakure Ryū Ninpō)
Written by Masaaki Hatsumi
Published on April 30, 1989
ISBN4-8069-0240-1 C2075 P1130E

Mitsugu Saotome

Mitsugu Saotome (1926–2008), pen name of Kanegae Hideyoshi, was a renowned Japanese writer of historical fiction. Winning prestigious awards like the Naoki Prize and Yoshikawa Eiji Prize for Literature. By 1989, he was a highly respected literary figure. Known for his expertise in Japanese history, particularly from the Shōwa and Heisei periods.

His endorsement of Masaaki Hatsumi’s book “Hiden Togakure Ryu Ninpo” in 1989 was a significant honor due to Saotome’s established reputation. As a leading author of historical narratives, his approval carried weight.Especially for a work dealing with Japan’s martial and ninja traditions. Saotome’s validation not only lent credibility but also likely attracted wider attention to Hatsumi’s book. Making it more appealing to readers interested in history and martial arts.

In short, Saotome’s endorsement was a mark of quality. Given his influence and prestige in Japan’s literary world, making it a substantial boost for the book’s reception and success.

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From 武神館兜龍 Bujinkan Toryu by Toryu

Introduction to the Four Worlds of Mastery

The Four Worlds of Mastery

In the disciplined and deeply philosophical world of Bujinkan, the journey from novice to master involves more than physical prowess. Additionally, it encompasses profound personal growth. The “Four Worlds of Mastery” guide this path, mirroring the traditional martial arts progression of Shu-Ha-Ri. It also highlights common cognitive biases, such as the Dunning-Kruger effect. Understanding these stages offers practitioners a roadmap for development that extends beyond physical skills to encompass mental and spiritual maturation.

Incompetent Awareness

“Incompetent awareness” marks the initial stage in a martial artist’s journey. Here, you recognize your novice status and embrace the humility that comes with starting anew. Like the Shu phase in Shu-Ha-Ri, this stage is about strict adherence to form and technique, absorbing knowledge like a sponge. You learn to perform kata (forms) and techniques exactly as taught, respecting the wisdom and effectiveness of established methods. This phase is foundational, as it builds the discipline and basic skills necessary for advanced exploration.

Incompetent Unawareness

As skills and confidence grow, practitioners often enter the stage of “incompetent unawareness,” where the Dunning-Kruger effect becomes most apparent. Here, you might feel more competent than you actually are due to initial successes and basic fluency in techniques. This stage is a critical juncture and reflects the early transition from Shu to Ha, where the danger lies in becoming complacent with one’s perceived level of skill.

You must remain vigilant to continue pushing boundaries and seeking deeper understanding instead of settling for superficial knowledge. This stage urges practitioners to recognize the breadth of what they don’t know and to approach training with a critical eye.

Competent Awareness

Transitioning into “competent awareness,” practitioners begin to deeply integrate their skills and knowledge. This stage aligns with the Ha phase of Shu-Ha-Ri, characterized by experimentation and adaptation. You understand the principles behind each technique and start to experiment with variations, adapting what you’ve learned to suit different situations and personal style.

This is a period of reflection and critical thinking, where you assess your abilities realistically and work on refining your techniques. Here, the practitioner is skilled and knowledgeable yet remains acutely aware of the limitations and gaps in their expertise.

Competent and Unaware

The final stage, “competent and unaware,” is where true mastery begins to shine. This stage mirrors the Ri phase, where practitioners execute techniques with natural ease and deep-rooted skill, making them appear instinctual.

At this level, the mind no longer consciously dictates actions; the body responds to threats and opportunities with a fluidity and grace that seem almost preternatural. This is the stage where practice transcends physical action and becomes a form of moving meditation, embodying the essence of Bujinkan in every motion.

Overwhelming Spirit

In Shinden Shura Roppō Takamatsu Sensei wrote about this experience.

There’s an interesting story related to this. When I was at Toda Shinryuken Sensei’s dojo, a martial artist from the 関口流 Sekiguchi-ryu came for a challenge match. At that time, it was customary for younger, skilled practitioners to sit at the lower end, while older, less capable ones took the higher seats. Among us was a man, around 37 or 38, with an imposing physique but a scarred face, possibly from burns, which made him look fearsome. However, his skill was limited, and he loved to compete despite often losing. That day, he boldly took the highest seat, and when the match began, he insisted on going first. Everyone tried to dissuade him, knowing he would lose, but he wouldn’t listen. So, he went out, exchanged formalities with the opponent, and as they bowed and separated, he suddenly widened his scarred eyes, contorted his face into a terrifying expression, and with a thunderous shout and stomp, he startled the Sekiguchi-ryu opponent. The opponent, terrified, jumped back and conceded the match. When Toda Sensei asked the Sekiguchi-ryu practitioner why he gave up, he confessed that he was scared and thought he would be facing a weaker opponent from the lower seats. This instance shows how a mental defeat can occur even before the physical match. In martial arts, one must maintain a constant, unshaken spirit, not startled or intimidated by external changes. The true value of martial arts lies in cultivating this unflinching spirit.

In what category would you place the student of Toda Sensei? Where would you put the Sekiguchi student? I think it is an interesting story that teach us that sometimes courage is better than skills.

Integrating Shu-Ha-Ri and Dunning-Kruger into Bujinkan Training

Integrating the understanding of Shu-Ha-Ri, traditionally viewed as a 30-year progression, along with the awareness of cognitive biases like the Dunning-Kruger effect, is crucial for holistic development in Bujinkan training.

Recognizing your current position within these stages is essential for maintaining a realistic assessment of your skills and encouraging ongoing improvement. Furthermore, the Dunning-Kruger effect serves as a vital reminder to stay humble and vigilant. It urges you to continuously question your level of skill and actively seek feedback from more experienced practitioners.

Practical Applications and Training Advice

To navigate these stages effectively, consider the following practical steps:

• Seek Continuous Feedback: Regularly seek out feedback from instructors and peers to gain an accurate understanding of your skill level.
• Engage in Deliberate Practice: Focus on areas of weakness and continuously challenge yourself with new learning opportunities.
• Reflect and Journal: Maintain a training journal to reflect on lessons learned, challenges faced, and progress made.
• Teach Others: Teaching is a powerful tool for deepening understanding and identifying gaps in one’s own knowledge.
• Stay Open to Learning: Cultivate the mind of a three-year-old, an age marked by peak curiosity and learning. Embrace this beginner’s mindset at every stage of your expertise to continuously discover new insights and techniques.

Conclusion

Navigating the “Four Worlds of Mastery” in Bujinkan calls for a balanced mix of rigorous practice, self-assessment, and personal growth. By moving through each stage—from eager learner to master practitioner—you partake in both the physical and transformative aspects of martial arts. This process molds both mind and spirit. The journey reflects Shu-Ha-Ri’s lasting principles and provides a challenging path to mastery. Recognizing these stages and the pitfalls of the Dunning-Kruger effect equips you with essential tools for true mastery in Bujinkan.

Footnotes:

1. Shu (守): Shu means to protect or obey. It emphasizes the importance of learning foundational techniques exactly as taught, without deviation.
2. Ha (破): Ha means to break. In martial arts, this stage is about breaking away from traditions to explore and adapt techniques personally.
3. Ri (離): Ri means to separate or transcend. It signifies achieving a level of skill so advanced that techniques are executed instinctively and effortlessly.
4. Dunning-Kruger Effect: A cognitive bias wherein individuals with low ability at a task overestimate their ability, while those with high ability underestimate theirs, often due to a lack of self-awareness.

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From 武神館兜龍 Bujinkan Toryu by Toryu

In the realm of stealth and strategy the Ninja once harnessed 海蛍 Umi Hotaru, sea-fireflies (Vargula hilgendorfii) a remarkable natural phenomenon as a nighttime guide. This essay delves into their ingenious use of these bioluminescent creatures for night operations.

The Art of Light in Darkness

The Ninja sought clear seas with sandy bottoms, ideal habitats for sea-fireflies. Using bait, they attracted and collected these luminous beings with precision. Ninjas kept them alive until needed, showcasing an exceptional understanding of nature and resourcefulness.

These creatures served as a subtle light source. They enabled ninjas to read maps and signal allies undetected by enemies. The method not only reflects their survival skills but also their innovative approach to problem-solving.

The practice of using sea-fireflies illuminates the depth of ninja ingenuity. It exemplifies their ability to blend with the natural world, turning simple organisms into tools of espionage and communication.

Below is a small segment from the Hizō no Densho from the Yasuda-ryū translated.

This translation was done by ChatGPT and may not be 100% accurate. I suggest you go to Sean Askew’s web site and find a better translation. The whole 秘蔵の伝書 Hizō no Densho from 矢寿駄流 Yasuda-ryū is published in the end of Masaaki Hatsumi’s book 忍法大全 Ninpō Taizen.

Footnotes:

1. 海蛍 (Umi-hotaru): Sea-firefly. “海” (umi) means sea, reflecting their habitat. “蛍” (hotaru) means firefly, indicating their bioluminescent nature.
2. 奇麗 (Kirei): Beautiful. “奇” signifies strangeness, “麗” beauty, together highlighting the aesthetic appreciation in the ninja culture.
3. 暗夜 (An’ya): Moonless night. “暗” means dark, “夜” night, emphasizing their preference for operations under cover of darkness.
4. 砂地 (Sajichi): Sandy bottom. “砂” refers to sand, “地” to earth or ground, indicating the sea-firefly’s preferred habitat.
5. 尋 (Hiro) or 広 (Hiro): It is not a standard measuring unit, it probably means pull this rope three to five times.
6. 矢寿駄流 (Yasuda-ryū): This old Ninjutsu school did not survive to modern times, but their Densho is still held by a few researchers such as Hatsumi Sōke.

This exploration into the ninja’s use of sea-fireflies reveals a fascinating intersection of nature, strategy, and survival.

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From 武神館兜龍 Bujinkan Toryu by Toryu

Introduction

In December 1998, I had the incredible opportunity to attend Daikomyosai, a martial arts event held in Japan. Daikomyosai, also known as Taikai, is an annual gathering of martial artists from around the world. This event is unique, primarily because it is presided over by Soke Dr. Masaaki Hatsumi, the head instructor of the Bujinkan organization. In this essay, I will provide insights into my experiences during Daikomyosai, the rigorous training sessions, and the diverse group of participants.

An International Gathering

Daikomyosai brought together a diverse group of martial artists, with around 90 participants, mostly gaijins (non-Japanese). Among the attendees were several judans (10th-degree black belts), including notable figures like Jack Hoban, Richard Van Donk, and Bill Atkins from the USA, Brin and Natascha Morgan from England, and Arnaud Cousergue from France. Japanese shihans (instructors) such as Shiraishi, Noguchi, Nagato, Oguri, Seno, and Nagase-sensei also joined the event. Representatives from countries like Sweden, Denmark, England, Germany, Canada, and Australia enriched the international mix. Despite the impressive turnout, there were still many notable absentees, both Japanese and Western shihans and shidoshis.

Intense Training Sessions

The training sessions at Daikomyosai were intense and highly rewarding. Each day consisted of four one-hour sessions, totaling a grueling three days of training. The sessions began with a judan demonstrating a fundamental technique a few times, allowing participants to practice for a brief period. Soke would then break down the technique, often highlighting essential details. The pace was rapid, with participants getting only a few attempts before moving on to the next detail or variation (henka). After each hour of training, there was a short 10-minute break before diving into the next fundamental technique.

Versatility in Techniques

Daikomyosai covered various techniques, including Nichigeki, Gekkan, Fubi, Uryu, Hibari, Setsuyaku, Musan, and Karai from Ten no kata, Riken, and Shinken from Chi no kata, as well as Kobushinagashi and Ryotegake from Shizenshigoku no kata. These techniques primarily belonged to the realm of Taijutsu, specifically Dakentaijutsu in Shindenfudo-ryu. They encompassed a wide range of techniques, including strikes, kicks, joint locks, throws, and counters. Training also included scenarios involving attacks and defenses against various weapons, often with multiple opponents. The emphasis was on utilizing available objects as weapons or distractions, even something as simple as a bundle of paper.

Adaptation and Awareness

One crucial lesson from Daikomyosai was the importance of adapting and staying aware of your surroundings. Whether armed or unarmed, the focus was on using your environment and any available objects to your advantage. It was essential to assess your opponent for hidden threats, not limited to weapons. For instance, Soke demonstrated the folly of attacking an opponent before ensuring it was safe, highlighting the need for risk assessment.

Happo Biken: The Bujinkan Way

Daikomyosai also introduced us to a concept known as Happo Biken, a high-level skill within the Bujinkan system. It encourages practitioners to showcase their knowledge and share insights, regardless of their rank. Shyness had no place, as everyone was encouraged to step forward and teach if they had something valuable to share. The spirit of learning and teaching pervaded the entire event.

Camaraderie and Celebration

Beyond the intense training, Daikomyosai offered moments of camaraderie and celebration. An informal gathering at the Honbu dojo was held to celebrate a significant milestone – Hatsumi Soke’s 67th birthday. Participants indulged in a feast of sushi, risotto, pizza, and sweets, accompanied by beer, sake, and wine in moderation. The celebration included a blend of birthday songs, Christmas carols, and Japanese karaoke hits. Jack Hoban served as the master of ceremonies and troubadour.

A Remarkable Sense of Community

Daikomyosai left a lasting impression, creating a sense of community like no other. The shared experiences and learning opportunities were truly extraordinary. It was a testament to the global reach and enduring legacy of Bujinkan martial arts.

In conclusion, my journey to Daikomyosai in December 1998 was a remarkable experience filled with intensive training, cultural exchange, and the celebration of a martial arts legend’s birthday. The lessons learned at Daikomyosai extended beyond martial techniques, emphasizing adaptability, awareness, and the spirit of sharing within the Bujinkan community.

The post Daikomyosai – December 1998: A Glimpse into the Bujinkan World appeared first on 武神館兜龍 Bujinkan Toryu.…

From 武神館兜龍 Bujinkan Toryu by Toryu

Introduction

In December 1998, I had the incredible opportunity to attend Daikomyosai, a martial arts event held in Japan. Daikomyosai, also known as Taikai, is an annual gathering of martial artists from around the world. This event is unique, primarily because it is presided over by Soke Dr. Masaaki Hatsumi, the head instructor of the Bujinkan organization. In this essay, I will provide insights into my experiences during Daikomyosai, the rigorous training sessions, and the diverse group of participants.

An International Gathering

Daikomyosai brought together a diverse group of martial artists, with around 90 participants, mostly gaijins (non-Japanese). Among the attendees were several judans (10th-degree black belts), including notable figures like Jack Hoban, Richard Van Donk, and Bill Atkins from the USA, Brin and Natascha Morgan from England, and Arnaud Cousergue from France. Japanese shihans (instructors) such as Shiraishi, Noguchi, Nagato, Oguri, Seno, and Nagase-sensei also joined the event. Representatives from countries like Sweden, Denmark, England, Germany, Canada, and Australia enriched the international mix. Despite the impressive turnout, there were still many notable absentees, both Japanese and Western shihans and shidoshis.

Intense Training Sessions

The training sessions at Daikomyosai were intense and highly rewarding. Each day consisted of four one-hour sessions, totaling a grueling three days of training. The sessions began with a judan demonstrating a fundamental technique a few times, allowing participants to practice for a brief period. Soke would then break down the technique, often highlighting essential details. The pace was rapid, with participants getting only a few attempts before moving on to the next detail or variation (henka). After each hour of training, there was a short 10-minute break before diving into the next fundamental technique.

Versatility in Techniques

Daikomyosai covered various techniques, including Nichigeki, Gekkan, Fubi, Uryu, Hibari, Setsuyaku, Musan, and Karai from Ten no kata, Riken, and Shinken from Chi no kata, as well as Kobushinagashi and Ryotegake from Shizenshigoku no kata. These techniques primarily belonged to the realm of Taijutsu, specifically Dakentaijutsu in Shindenfudo-ryu. They encompassed a wide range of techniques, including strikes, kicks, joint locks, throws, and counters. Training also included scenarios involving attacks and defenses against various weapons, often with multiple opponents. The emphasis was on utilizing available objects as weapons or distractions, even something as simple as a bundle of paper.

Adaptation and Awareness

One crucial lesson from Daikomyosai was the importance of adapting and staying aware of your surroundings. Whether armed or unarmed, the focus was on using your environment and any available objects to your advantage. It was essential to assess your opponent for hidden threats, not limited to weapons. For instance, Soke demonstrated the folly of attacking an opponent before ensuring it was safe, highlighting the need for risk assessment.

Happo Biken: The Bujinkan Way

Daikomyosai also introduced us to a concept known as Happo Biken, a high-level skill within the Bujinkan system. It encourages practitioners to showcase their knowledge and share insights, regardless of their rank. Shyness had no place, as everyone was encouraged to step forward and teach if they had something valuable to share. The spirit of learning and teaching pervaded the entire event.

Camaraderie and Celebration

Beyond the intense training, Daikomyosai offered moments of camaraderie and celebration. An informal gathering at the Honbu dojo was held to celebrate a significant milestone – Hatsumi Soke’s 67th birthday. Participants indulged in a feast of sushi, risotto, pizza, and sweets, accompanied by beer, sake, and wine in moderation. The celebration included a blend of birthday songs, Christmas carols, and Japanese karaoke hits. Jack Hoban served as the master of ceremonies and troubadour.

A Remarkable Sense of Community

Daikomyosai left a lasting impression, creating a sense of community like no other. The shared experiences and learning opportunities were truly extraordinary. It was a testament to the global reach and enduring legacy of Bujinkan martial arts.

In conclusion, my journey to Daikomyosai in December 1998 was a remarkable experience filled with intensive training, cultural exchange, and the celebration of a martial arts legend’s birthday. The lessons learned at Daikomyosai extended beyond martial techniques, emphasizing adaptability, awareness, and the spirit of sharing within the Bujinkan community.

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From 武神館兜龍 Bujinkan Toryu by Toryu

I was translating another Hiden Magazine article for Bujinkan.online and came up on the following segment about Hatsumi Sōkes experience about his 1964 TV appearance om 忍術千一夜 NINJUTSU SENICHIYA (The Art of Ninja in 1001 Nights).

NINJUTSU SENICHIYA was a segment to the Toei Animation TV anime 少年忍者風のフジ丸 “Shōnen Ninja Kaze no Fujimaru” (Fujimaru of the Wind: The Childhood of a Ninja) aired from June 7, 1964, to August 31, 1965.

Hatsumi Sōke showcased and explained various aspects of Ninjutsu and ninja tools, particularly from the Togakure-ryū school. The segment was presented to actress 本間千代子 Honma Chiyoko.

From July issue of Hiden Magazine published in 2002…

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Renewing the Image of the Ninja

The Enigmatic World of Ninjas: Reimagined 

Once, ninjas were enigmatic figures in storytelling and the Tachikawa Bunko, where they performed mystifying feats like disappearing in a puff of smoke or transforming into gigantic frogs or monsters. This fairytale-like image of ninja techniques, where they would bite scrolls, form seals, and chant spells, dominated the public consciousness.

In early ninja movies, this image prevailed. Films like “Kage no Eijimaru” starring a young Hiroshi Matsukata and Toei Animation’s “Shonen Sarutobi Sasuke” exemplified this. However, Masaaki Hatsumi Sōke actively participated in visual media like TV and movies, introducing the true nature of Ninjutsu to the public, transforming the existing image of ninjas.

A turning point was the movie “Shinobi no Mono” directed by Satsuo Yamamoto. Here, Hatsumi Sōke, along with the then-living Takamatsu Sōke, provided Ninjutsu guidance, creating a realistic ninja portrayal on screen. Techniques from the Togakure-ryu could be seen throughout the movie, including rust-plate and stick techniques, body movements, and ninja walking.

Additionally, in Toei Animation’s TV anime “Shonen Ninja Kaze no Fujimaru,” a segment called “Ninpo Sen’ichiya” was included, where Hatsumi Sōke explained and demonstrated Ninjutsu and ninja tools. This unprecedented project likely introduced Togakure-ryu and Hatsumi Sōke to many.

“It was only a 3-minute segment, but the shooting took about an hour and a half. The studio lights were so hot back then that the studio flowers would wilt in about 20 minutes, so we had to replace them several times during shooting. The Ninjutsu demonstration took about 7 hours,” Hatsumi Sōke recalls.

Hatsumi Sōke continued to provide guidance in several movies, TV shows, and stage performances. Notable works include Teruo Ishii’s “Direct Hit! Hell Fist,” Lewis Gilbert’s “You Only Live Twice,” and Kado Hanado’s “Sengoku Mayou Monogatari.” He also appeared in numerous programs, contributing to the creation of a realistic ninja image and establishing Ninjutsu as a martial art. However, the sensationalist public perception of Ninjutsu and ninjas has always been a significant barrier for Hatsumi Sōke, likely posing challenges to this day.

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忍術千一夜 NINJUTSU SENICHIYA 19 Episodes

NINJUTSU SENICHIYA EPISODE LIST:

01. SENBAN-SHURIKEN
02. BŌ-SHURIKEN
03. TENMON, KETSU-IN MAKIMONO
04. NINJA SHOZOKU, NINJATŌ
05. SHINOBI BUKI
06. TETSUBUSHI, METSUBUSHI, KASUNAI
07. GETA, ARUKI
08. SUITON NO JUTSU
09. KATON NO JUTSU, KAYAKUJUTSU
10. KOPPŌJUTSU
11. NINJATŌ, KENPŌ
12. KAYAKUJUTSU, TEPPŌJUTSU, HŌJUTSU
13. KAMAYARI
14. CHITON, SUITON NO JUTSU
15. BŌJUTSU
16. TOGAKURE-RYŪ BIKENJUTSU, YOROI
17. SHIKOMI, HENSOJUTSU
18. KUSARIGAMA, KYŌKETSUSHOGE
19. TOBIDOGU, SHURIKEN, FUKIYA

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