During Paul’s calligraphy session mid-class, he wrote “Tōgi ku ni tamotarete iru” the way Hatsumi Sensei wrote it in the past. (1)
Imagine a world where every possible outcome, every attack, every event—already exists, shimmering just beneath the surface of the present moment. That is not just the stuff of science fiction or mystical poetry; it’s a concept deeply embedded in Japanese thought and, surprisingly, echoed in modern psychology.
As I couldn’t find the same kanji, I used the romaji instead of the beautiful calligraphy. The sentence became 透義句に保たれている (Tōgi ku ni tamotarete iru).
Paul, after reading it, said three things: a) The AI explanation is excellent. b) The characters are not so great. c) It is better to use Sensei’s characters. (2)
The calligraphy suggests that all meanings, actions, and events are “preserved” or “maintained” within the same space and time. Imagine a pond: every ripple, every reflection, every possibility is already there, waiting to be seen from the right angle. Like every ancient culture, the Japanese language conveys not only meaning but also a distinct way of perceiving the world. That is not just “linguistic artistry”; it has roots within the fabric of Japanese spirituality. All religions know that and teach it. Whether it is Buddhism, Shintō, or Zen, all things are interconnected at some level. Visible or invisible. (3)
So, if everything is interconnected, then it makes sense that when you are facing Sensei, you get the feeling that “he knows” what you will do next. In a way, he is cheating!
Surprisingly, this ancient wisdom, or its modern application in budō, finds a contemporary echo in Malcolm Gladwell’s book, “Blink.” Gladwell explores the phenomenon of “thin-slicing” – our ability to make split-second decisions based on seemingly minimal information. Experts, he argues, don’t consciously analyse every detail; instead, they tap into a vast reservoir of experience and intuition, arriving at the correct answer almost instantly. (4)
Think of an art expert who knows a painting is a forgery at first glance, a martial artist watching a fake movement, or a firefighter who senses a building is about to collapse without knowing why. In these moments, all possibilities and outcomes are, in a sense, “already available.” The expert doesn’t calculate; he accesses what’s already there, much like the master who responds to an attack without thinking. This ability to read “between the lines” of reality is what makes the difference between a good Budōka and an excellent one.
What unites these perspectives is a profound trust in the fullness of the present moment. Whether through the lens of Japanese spirituality or the science of intuition, mastery is not about controlling every variable or predicting every outcome. It’s about recognising that, beneath the surface, all possibilities already exist. The art is to access them. That was the theme in 2004 when Hatsumi Sensei taught us Yūgen no Sekai to “see the dimension of the non-manifested”. (5)
Next time you find yourself hesitating, caught between choices, remember: the answer may already be within you or in the Kūkan around you, preserved in the infinite potential of now.
Read the air, trust your intuitions, develop your Budō skills and be happy.
Because all is there already!
Personal note: Thank you, Paul, for your help and the class. To all Bujinkan members, when in Japan, come and train with him as he has great taijutsu and a deep understanding of Sensei’s philosophy.
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The computer gave me 透義句に保たれている (Tōgi ku ni tamotarete iru), but the picture is the real calligraphy by Paul, copying Sensei’s choice of kanji.
Paul told me that Hatsumi Sensei often uses kanji that the majority of Japanese people rarely understand. On that subject, check his latest YouTube video: https://www.youtube.com/watch?v=aAV1wN7Nzvk
a) Buddhism: the concept of 縁起 (Engi, or Dependent Origination) teaches that nothing exists in isolation. Every event is the result of countless interwoven causes and conditions. The present moment, then, is not just a fleeting second; it’s the culmination of all that has come before and the seed of all that will come after.
b) Shintō: Japan’s indigenous spirituality speaks of 結び (Musubi), the sacred force that binds all things together. In this view, the universe is a living web where past, present, and future are not separate threads but a single, ever-unfolding tapestry.
c) Zen Buddhism takes this even further with the idea of 一如 (Ichinyo, Non-Duality). Here, the boundaries between time and space dissolve. In deep meditation, practitioners experience the “eternal now”—a state where all outcomes are already present, and the mind is free to move without hesitation.
Yūgen no Sekai, 幽玄の世界, the dimension of things that are there, invisible and not manifested yet. Hatsumi Sensei also referred to it as “the dimension of ghosts”. But I prefer this quote by Sensei: “Ninpō is the art of rendering the invisible visible”.
After the Kotō ryū of the other day, Noguchi sensei began the study of the Chūden no Sabaki Gata from the Takagi Yōshin ryū, starting with Katamune Dori.
A group of 20 students gathered to attend the class, and I was happy to see many “old-timers”. There is nothing disrespectful here. People at Noguchi sensei’s classes are mainly practitioners who have been attending his classes for ten or twenty years (in my case, thirty-five years) because his vision of Budō is brilliant, based on knowledge rather than brute force. (1)
Even though he is now Sōke of the Kotō ryū, he is still teaching the “Noguchi ryū”, his understanding of the Bujinkan arts.
After this last class, I’m no longer sure Noguchi sensei only does what he has been doing for decades. There is no change; he is still destructuring each waza (grab, one-fist attack, double attack, inside, outside, locking with the head, etc.) in the same way.
But last night, we saw a Kotō tiger in the branches of the willow tree. There is a Kotō ryū tiger hidden in the tree. (2)(3)
After training with Noguchi sensei for so many years, I could easily spot this significant change in his taijutsu. They say that a Sōke embodies the spirit of the fighting system (ryū) he represents. After last night, I think there is some truth about it.
Now, don’t get me wrong, Noguchi sensei is still the same perfect gentleman; nothing differs from his regular taijutsu, but there is a new “presence” in his movements. Some feline vibe. His actions have always been unreadable; this new quality makes it even more difficult for uke not to die.
From that class and apart from this “felinity”, here are a few valuable tips we got during class:
Tsukame janai: Do not grab firmly; maintain contact and let uke think he is free, even though he is not. Be like a cat -or a tiger- playing with a mouse.
Chikara janai: Do not use strength; use movement instead. Here, you can relate to the willow tree. Branches move with the wind, and when there is a burst of wind, it looks like à wave going through the leaves.
Ritsudō: Rhythm is everything. Don’t follow a repetitive pattern of movement. Variation is important. If you don’t, the giant worms from Dune will get you. (4)
Turn your whole body during the movement to balance your weight and increase efficiency. The direction of the feet is key to applying the waza.
Kamae: As he did last time, use the kamae not as a rigid, unhealthy stance but rather as a suggestion. It is a more relaxed kamae, less formal.
Basics: Whatever the complexity of the waza we studied, Noguchi sensei was always able to cut it down into basic moves from the Tenchijin (Ura Gyaku, Yoko Nagare, Ō Soto Gake, Musha Dori, etc).
As demonstrated by Noguchi sensei in class, mastering your basics is vital to understanding what you see here at honbu. After class, Paloma, a young teacher from Valparaiso, told me that the Koi Martial Arts videos helped a lot in improving my basics. (5)(6)
If you have weak basics, you cannot become the tiger hidden in the branches of the willow tree; you are only a harmless “paper tiger”. (7)
Thank you, Noguchi sensei, for another excellent moment.
Strength is necessary at some point, but if you can apply the waza softly in the training hall, you might be more capable of using strength when facing à real attack by multiple opponents.
The Kotō refers to a tiger (see previous post), and the Takagi Yōshin refers to the willow tree.
Yōshin ryū (“The School of the Willow Heart”) is a common name for several different martial traditions founded in Japan in the Edo Period.
A class with Nagato sensei is never easy, even after training with him for 35 years. I know his taijutsu, I understand his movements, but I cannot get his flow.
That is what many practitioners often fail to understand. The Japanese Sōke and Dai Shihan will not teach you techniques; they will convey the essence of Bujinkan Budō. If you want to collect Waza, don’t come here.
You should do your homework in your dōjō before coming and be prepared. As I often write, I invite you to learn your basics and study the Tenchijin intensively. When all the fundamentals are acquired, it is easier to adjust your knowledge base to what the teachers demonstrate here. If you don’t do that, then basics and advanced movements are the same for you, and you miss the objectives of the classes. The teachers here are demonstrating advanced Budō. There is no basic training at Honbu!
Nagato sensei asked a student to perform a movement. Then, they used it to demonstrate his usual style of Budō, which includes many subtle elbow movements. Playing a lot with distance, he always found a way to wrap up and control him with his elbows.
He spoke a lot about doing “half-cooked techniques”, a concept we studied a few years ago with Hatsumi Sensei. The idea is never to finish a waza but to use the opponent’s body reactions to initiate a new, natural movement. (1) That way, uke cannot read our intention as our moves originate from his reactions. That isn’t an easy task. You never finish a technique because uke’s moves trigger your actions.
After class, speaking with a few friends, we concluded that it was similar to when Sensei taught us the concept of the skipping stone, as seen in Ishitobashi. (2) We use the air pockets created and the uke’s reactions to move. Each point of contact with the uke is like a stone hitting the water. It is the start of a new movement.
Another detail Nagato sensei insisted on was not holding firmly at all times. When holding the wrist of the attacker, you grab him with very little strength and control him by letting your “C-shaped” grip slide around his wrist. (3) Because of the soft grip, there is no strong reaction on the uke’s part. That is very common, but we often tend to put force when it is not necessary.
During the break, Nagato sensei reminded us that “there’s nothing secret in Budō”, quoting Hatsumi sensei. Our egos would love to learn secrets, but there are none. The secret, if there is one, is to train your taijutsu well enough through the basics to extract as much as possible when here. We continue to learn in every class; tonight’s lesson was to “be incomplete” to create more opportunities. When you come here, you have to be half empty if you want to fill your head with new understandings. During the break, my friend Luis Bermejo from the Dominican Republic asked a question about the length of the path of Budō. And Nagato sensei answered, “The path never ends”.
PS: On the humorous side, Shiva was there with Nandi, and a Koi member, asked for a picture with me. While taking the pose, he saw Shiva. He said, “I think I saw him on Koimartialart”, not knowing that we created it together in India! (4)
Ishitobashi 石飛ばし; skipping stones. Each contact with water creates an air pocket (the arch between the water and the flying stone), in which our Budō manifests. That is not visible to uke and, therefore, is impossible to counter.
“C-shaped” grip: This is when you hold the wrist between your thumb and your forefinger. It is à common way to hold in many military self-defence courses.
“Differences Between Iga and Kōga” (Page 118-121) from the book Ninjutsu Sono Rekishi To Ninja by Heishichirō Okuse.
When considering the origins of the Kōga ninja clans, two key points stand out. First, 飯道山Handōzan, a Shugendō training ground founded by 役 行者 En no Gyōja, is located in the heart of the Kōga region. Second, in ancient times, the Kōga region was not distinguished from Iga and existed as part of Iga District, meaning the residents of both Iga and Kōga were essentially the same ethnic group.
The name “Iga” was established in the third year of Emperor Kōrei’s reign when the Yamato court extended its governance over both Iga and Ise provinces. According to the Nihon Shoki, “The land of Ise is the land of Isetuhiko, and Iga is the land governed by Igatuhime, ruled by their vassals,” indicating that the names used by the indigenous people were officially retained.
The original inhabitants of Iga and Ise were of the same ethnic stock, with “Iga” (IGA) meaning “mountainous interior” and “Ise” (ISE) meaning “plains,” as descriptive terms for their respective regions. After the introduction of Chinese characters, the names IGA and ISE were assigned the characters 伊賀 (Iga) and 伊勢 (Ise).
It’s unclear exactly when Kōga District was separated from Iga District, but it likely occurred sometime after the Nara period (710–794 CE). The authorities at the time chose the character 甲 (Kō), which shares the same “I” sound as 伊 (I), to name the new district Kōga.
Thus, Kōga is not a name derived from ancient phonetics but rather a repurposing of Chinese characters, meaning the term “Kōga” (KOGA) itself has no inherent meaning. Even after the separation, the cultural and ethnic unity between the two regions remained largely unchanged. Until the Tokugawa period (1603–1868 CE), when a rigid feudal system fully isolated the two, their customs, culture, and interpersonal exchanges continued as if they were still a single district.
A box bearing the Momochi family crest
The primary difference between the two regions lies in their political circumstances during this period. Iga was nominally under the control of temple and shrine estates (Shajiryō), so its local warriors (Jizamurai) lacked a unified military authority (Shugo, or provincial governor) to rely on. In contrast, Kōga, being part of Ōmi Province, was directly governed by the Shugo of Ōmi, a military authority connected to the central regime.
Iga’s local warriors formed a coalition government and maintained their independence, while Kōga’s warriors, whether they liked it or not, were subject to the governance of Ōmi’s Shugo. That said, Kōga also had some temple and shrine estates, though these were limited to areas near the border with Iga District and were not significant enough to hinder the influence of the Shugo. (I even suspect that the separation of Iga and Kōga Districts may have been due to the distinction between temple/shrine estates and aristocratic estates.)
Under these circumstances, Kōga’s local warriors solidified their status as vassals (Gokenin) of the Shugo appointed by the shogunate, while maintaining strong ties with the free local warriors of Iga, navigating this era through such relationships.
It is a clear fact that these Kōga warriors learned military strategy (Heihō), which includes ninjutsu, martial arts (Bujutsu), and military science (Heigaku), at Handōzan.
Handōzan is one of the three sacred mountains in Koga.
Handōzan is a Shugendō training ground established earlier than Mount Hiei, making it one of the oldest Shugendō sites after Yoshino. Until Shijūkuin, a Shingon-affiliated Shugendō training ground, was established in Shijūku Village in Iga Province, Handōzan was the only Shugendō sacred site in the northern part of Iga (at the time of its founding, Kōga was likely still part of Iga District). This training ground, which served as the foundation for transmitting the seeds of ninjutsu—Yamabushi Heihō—to Iga, was also the place where Kōga’s local chieftains trained in military strategy.
Until Shijūkuin was founded in Iga by Kūkai, the local chieftains of Iga (primarily from northern Iga) trained in military techniques alongside Kōga’s chieftains at Handōzan. It’s only natural that the Kōga warriors included a significant number of Hattori clan members, as both groups originally lived in the same region, with the Hattori being the most dominant force there. The deep blood ties between them became an invisible bond connecting the ninja clans of Kōga and Iga, a point that deserves special attention.
In any case, from the early Kamakura period, Kōga’s local warriors solidified their status by becoming vassals of the Shugo. The first Shugo of Ōmi appointed by the Kamakura Shogunate was Sasaki Sadatsuna. Sadatsuna was the eldest son of Sasaki Hideyoshi, a general loyal to Yoritomo, and the older brother of Sasaki Takatsuna, famous for his role in the Uji River battle. Their father, Hideyoshi, died in battle in Ōmi in 1184 CE (Juei 3) against Taira no Ietsugu, a Taira vassal, which likely contributed to Sadatsuna’s appointment as Shugo of Ōmi Province after the fall of the Taira clan, due to his military merits. Although there were some changes over time, the position of Shugo of Ōmi was hereditarily held by the Sasaki clan.
Iga Ueno Castle (Reconstruction of the original castle from 1585, Wikipedia)
By the late Kamakura period, a remarkable figure named Takauji emerged in the Sasaki family, greatly expanding its influence. This Takauji, later known as Sasaki Nyūdō Dōyo after taking Buddhist vows, was a master of espionage (Yōkan). He skillfully navigated the chaotic times using the Kōga ninja groups, maintaining the Sasaki family’s status.
By this period, the Kōga ninja clans had become vassals of the Sasaki family, operating under the unified command of Sasaki Takauji. It’s likely that during this time, the foundation for what would later be known as the “Fifty-Three Families of Kōga” was steadily being established.
Can there really be two distinct schools that use the same manual, regard the same author as the foundational figure of their school, and do so without suspicion?
Bansen Shūkai (Held by the Okimori Collection, Iga Ueno)
If we force ourselves to find a difference, it’s only that the Kōga clans are referred to as the “53 Kōga Families” and the Iga clans as the “49 Iga Schools,” reflecting the different regions where these ninjutsu practitioners resided. In other words, two regions under different administrative authorities were inhabited by the same ethnic group, speaking the same language, and practicing the same techniques—one was simply called Kōga-ryū, the other Iga-ryū. Even these regions were artificially divided in ancient times for political reasons, against natural geographical boundaries. Naturally, Iga and Kōga are essentially a single contiguous area. (Page 178).
The 53 Kōga Families
山中十郎 Yamanaka Jūrō (Hashi)
嵯峨越前守 Saga Echizen no Kami (Hashi)
宮島掃部介 Miyajima Kamonnosuke (Hashi)
倉治右近介 Kuraji Ukon no Suke (Hashi)
平子主殿介 Hirako Tononosuke (Hashi)
葛城丹後守 Katsuragi Tango no Kami (Hashi)
杉谷与藤次 Sugitani Yotōji (Hashi)
土山鹿之助 Tsuchiyama Shikanosuke (Hashi)
美濃部源吾 Minobe Gengo (Sugawara)
隠岐右近太夫 Oki Ukon Tayū (Minamoto)
芥川左京亮 Akutagawa Sakyōryō (Minamoto)
宇田藤内 Uda Tōnai (Minamoto)
望月出雲守 Mochizuki Izumo no Kami (Minamoto)
針和泉守 Hari Izumi no Kami (Minamoto)
鵜飼源八郎 Ukai Genhachirō (Minamoto)
小川孫十郎 Ogawa Magojūrō (Minamoto)
山上藤七郎 Yamagami Tōshichirō (Minamoto)
八田勘助 Hatta Kansuke (Minamoto)
神保兵内 Jimbo Hyōnai (Koremuni)
饗庭河内守 Aeba Kawachi no Kami (Koremuni)
頼宮四方介 Yorimiya Shihōsuke (Fujiwara)
上山新八郎 Ueyama Shinhachirō (Fujiwara)
青木筑後守 Aoki Chikugo no Kami (Tatara)
小泉外記 Koizumi Geki (Tatara)
鳥居兵内 Torii Hyōnai (Taira)
杉山八郎 Sugiyama Hachirō (Taira)
夏見大学 Natsumi Daigaku (Natsumi)
多羅尾四郎兵衛 Tarao Shirōbei (Shinohara)
三雲新蔵人 Mikumō Shin Kurōdo (Tanba)
長野刑部丞 Nagano Gyōbushō (Fujiwara)
多喜勘八郎 Taki Kanhachirō (Tomoe)
野田五郎 Noda Gorō (Tomoe)
内貴伊賀守 Naiki Iga no Kami (Fujiwara)
岩室大学介 Iwamuro Daigakusuke (Tachibana)
中山民部丞 Nakayama Minbushō (Tachibana)
高野備後守 Takano Bingo no Kami (Koremuni)
大原源三郎 Ōhara Genzaburō (Tomoe)
和田伊賀守 Wada Iga no Kami (Minamoto)
牧村右馬介 Makimura Yumano Suke (Tomoe)
池田庄右衛門 Ikeda Shōemon (Fujiwara)
服部藤太夫 Hattori Tōdayū (Taira)
大河原源太 Ōgawara Genta (Taira)
大久保源内 Ōkubo Gennai (Taira)
佐治河内守 Saji Kawachi no Kami (Taira)
上野主膳正 Ueno Shuzen no Shō (Tomoe)
上田三河守 Ueda Mikawa no Kami (Tomoe)
大野宮内少輔 Ōno Miyauchi Shōsuke (Fujiwara)
岩根長門守 Iwane Nagato no Kami (Tomoe)
黒川文内 Kurokawa Bunnai (Tomoe)
高峰蔵人 Takamine Kurōdo (Taira)
高山源太左衛門 Takayama Gentazaemon (Tachibana)
伴左京介 Ban Sakyōsuke (Tomoe)
新庄越後守 Shinjō Echigo no Kami (Fujiwara)
From Page 175-177
The 49 Iga Schools
Gen-Ryū
Genjitsu-Ryū
Gikan-Ryū
Goton-juppo-Ryū
Gyokko-Ryū
Gyokushin-Ryū
Hakuun-Ryū
Hattori-Ryū
Iga-Ryū
Kadone-Ryū
Koto-Ryū
Kukishinden-Ryū
Kumogakure-Ryū
Momochi-Ryū
Rikyoku-Ryū
Ryūmon-Ryū
Sawa-Ryū
Taki-Ryū
Takino-Ryū
Tenton Happo-Ryū
Togakure-Ryū
Tsuji-ichimu-Ryū
Uchikawa-Ryū
Yoshimori-Ryū
Okuse did not list any schools in his book, it seems like it is not easy to get a total list of all the “49 schools”, but here is a few of them listed above.
Excerpt above about Ninjutsu History from the book Ninjutsu Sono Rekishi To Ninja by Heishichirō Okuse.
Heishichirō Okuse (奥瀬 平七郎, おくせ へいしちろう) was a Japanese novelist, researcher, and politician born on November 13, 1911, in Ueno, Japan. He passed away on April 10, 1997.
Okuse graduated from Waseda University and studied under the renowned author Masuji Ibuse. He developed a particular interest in ninjutsu (the art of stealth and espionage), contributing to its study and preservation. Professionally, he worked for the Manchurian Telephone & Telegraph Company.
In addition to his literary and research endeavors, Okuse served as the mayor of Ueno from 1969 to 1977. His multifaceted career reflects a deep engagement with both traditional Japanese martial arts and public service.
Ninjutsu Sono Rekishi To Ninja 318 pages was published Showa 38 (1963) by Shokusando
At thirteen years old, he obtained the full mastery license of 柔体術 Jūtai-jutsu.
In Meiji 22 (1889), he was born in 兵庫県 Hyōgo-ken, 明石市 Akashi-shi. From nine years old, under his grandfather 戸田真竜軒正光 Toda Shinryūken Masamitsu, he received instruction in 虎倒流骨指術 Kotō-ryū Koppojutsu, and four years later, he endeavored to master 戸隠流忍術 Togakure-ryū Ninjutsu.
Additionally, from 石谷松太郎隆景 Ishitani Matsutarō Takekage, he was taught secret transmissions of 白雲流隠身術 Hakuun-ryū Inshin-jutsu, 八法秘剣術 Happō Hiken-jutsu, 義鑑流骨法術 Gikan-ryū Koppō-jutsu, and others.
In childhood, he was frail and a crybaby, but possessing natural talent recognized by his grandfather, at thirteen years old, he obtained the full mastery license of 不動流柔体術 Fudō-ryū Jūtai-jutsu. That same year, three delinquent boys provoked him, and he threw them all down. These belonged to a delinquent group called 敷島国 Shikishima-koku, and in retaliation, fifty or sixty delinquents ambushed him in the dark, but he threw them all down, sustaining not a single scratch. This incident became widely known, reported in local newspapers as “The Thirteen-Year-Old Judo Master!” causing a great uproar.
Under grandfather 真竜軒 Shinryūken and 石谷松太郎 Ishitani Matsutarō, he accumulated training in 忍術 Ninjutsu and 八法秘剣 Happō Hiken, and at nineteen years old, he secluded himself in the depths of shame, devoting himself to mental and physical training.
At this time, he developed clairvoyance-like supernatural abilities, and being called a hermit or 今天狗 Kon Tengu by people, it is interesting that there is a connection with the case of 藤田西湖 Fujita Saiko (see the column described later).
At twenty-one years old, he descended 摩耶山 Maya-san, crossed to the Chinese continent, and while staying in 天津 Tenshin, was recommended as president of the 北支那 Kita Shina Japanese Youth 武徳会 Budōkai.
In this era, at the suggestion of a high-ranking 支那 Shina government official, he fought a one-on-one match with 張 Chō, the foremost master of 支那拳法 Shina Kenpō, with equal strength, continuing the struggle for several hours without a decision, resulting in a draw, and they made a brotherly pact.
Returning to Japan at thirty years old, he settled in 奈良県檜原市 Nara-ken Hiwara-shi, running a diner while living a hermit’s life in his later years, guiding juniors, and passed away in Shōwa 47 (1972) at eighty-five years old.
Father is “Demon Detective.” Master of Music and Flower Arrangement
Real name is 藤田勇 Fujita Yū. In Meiji 32 (1899), he was born in 東京 Tōkyō, 浅草 Asakusa. His real father 森之助 Morinosuke was a detective of the 警視庁 Keishichō, renowned as a master of 捕縄術 Hojōjutsu, dominating an era.
As the great boss of pickpockets, feared throughout Japan, 仕立屋銀次 Shitaya Ginzō, or when serving at the 青梅 Ōme resident police post, he conducted a sweeping crackdown on mountain bandits nesting in the 奥多摩 Okutama to 秩父 Chichibu mountains, and was sung in a ditty’s lyrics as “Detective 藤田 Fujita is scarier than a demon.”
His ancestors were, for generations, distinguished secret agents of the 徳川家 Tokugawa-ke, descending from 和田伊賀守 Wada Iga no Kami, said to be one of the 南山六家 Nanzan Rokuka or six great names among the 甲賀流五十三家 Kōga-ryū Gojūsanka, and at six years old, recognized by his grandfather, the 十三世 13th soke, he began 忍術 Ninjutsu training, enduring hardship and later inheriting the 十四世 14th soke.
Besides learning 拳法 Kenpō, 柔術 Jūjutsu, 槍術 Sōjutsu, 長刀 Naginata, 棒 Bō, 十手 Jitte, 手裏剣 Shuriken, and other martial arts from his grandfather and 橋本一夫斎 Hashimoto Ichifusai, he mastered the essence of 茶道 Chadō, 生け花 Ikebana, 音曲 Ongyoku, 舞踊 Buyō, 書画 Shoga, and others under respective masters. 西湖 Saiko is his artist’s name for painting.
He was also the instructor of ルバング島 Rubangu-tō returnee soldier 小野田元少尉 Onoda Moto Shōi!
At seven years old, as a clairvoyance ability holder, he was discovered by 博士 Doctor 福来友吉 Fukurai Tomokichi, an authority in that field, and seized the attention of the mass media at the time. Now called superpowers, but with clairvoyant power and accurate prophecies, at twenty years old, he was deified as a “living god” and greatly prospered. Money came in abundantly, but unable to play at cafés, it was extremely confining. Even if he tried to escape, the surveillance of his entourage was strict, and finally, riding the darkness of night, he fled to 大阪 Ōsaka—this was said to be the first practical use of 忍術 Ninjutsu.
His education was from 早稲田実業 Waseda Jitsugyō to graduating from 日大宗教科 Nichidai Shūkyō-ka. He worked as a reporter for 報知 Hōchi, 日日 Nichinichi newspapers, and from Taishō 11 (1922), served as a martial arts instructor at 陸軍戸山学校 Rikugun Toyama Gakkō, 陸士 Rikushi, 陸大 Rikudai, and other institutions, and from Shōwa 12 (1937), when the 陸軍中野学校 Rikugun Nakano Gakkō was established, he became an instructor teaching 忍術 Ninjutsu. 小野田少尉 Onoda Shōi, who returned from ルバング島 Rubangu-tō after thirty years, was also his student.
In Shōwa 41 (1966), January, he passed away at sixty-eight years old, his grave is at 飯泉山勝福寺 Iizumi-yama Shōfuku-ji in 小田原市 Odawara-shi, his posthumous name is 六大院無礙西湖大居士 Rokudai-in Muge Saiko Dai Koji.
In Shōwa 6 (1931), December, he was born in 千葉県 Chiba-ken, 野田市 Noda-shi. He graduated from 明治大学文学部 Meiji Daigaku Bungaku-bu and then from 高等針医専門学校 Kōtō Shini Senmon Gakkō in 四谷 Yotsuya. From elementary school, he loved sports and martial arts, studying 空手 Karate, ボクシング Bokushingu, 剣道 Kendō, 柔道 Jūdō under respective masters, but ultimately realized that the essence of martial arts lies entirely in 古武道 Kobudō, and underwent rigorous training under prominent martial artists while traveling various provinces.
“There is nothing more for me to teach you. For anything beyond this, seek instruction from 高松寿嗣先生 Tak松 Toshitsugu-sensei in 奈良 Nara,” one of his masters suggested, and in Shōwa 18 (1943), he visited 高松先生 Tak松-sensei residing in 奈良県橿原 Kashihara-ken.
高松先生 Tak松-sensei, upon seeing 初見氏 Hatsumi-shi at first glance, recited a seven-syllable quatrain poem ending with “神州人あり、待つこと久し Jinshū hito ari, matsu koto hisashi” to welcome him, it is said.
The 老師 Rōshi, lamenting that there was no suitable successor to pass down the tradition and that the 戸隠流 Togakure-ryū lineage, continuing unbroken since the 徳川 Tokugawa era, might end, upon seeing the rare genius 初見氏 Hatsumi-shi, this poem spontaneously burst from his mouth, it seems.
Dojo Master with Disciples in Seven Countries of the World
Greatly inspired by the acquaintance of 高松老師 Tak松 Rōshi, 初見氏 Hatsumi-shi regarded this person as a lifelong master and devoted himself, traveling from 千葉 Chiba, 野田市 Noda-shi to 高松道場 Tak松 Dōjō in 奈良 Nara, 橿原 Kashihara, at least three times a month by express train, striving in the path of martial training where master and disciple’s hearts connect.
Thus, after fifteen years passed, in the 33rd year, he was entrusted with the lineage of 戸隠流忍法 Togakure-ryū Ninpō 34th generation, as well as 九鬼神伝八法秘剣 Kukishinden Happō Hiken 28th generation, 玉虎流骨指術忍法 Gyokko-ryū Koppojutsu Ninpō 28th generation, 虎倒流骨怯術 Kotō-ryū Kokkyaku-jutsu 18th generation, 義鑑流 Gikan-ryū 15th generation, 雲隠流忍法 Kumogakure-ryū Ninpō 14th generation, 神伝不動流打拳体術 Shinden Fudō-ryū Dakentaijutsu 26th generation, 高木
心流柔体術 Takagi Yōshin-ryū Jūtaijutsu 17th generation, and other eight school headships. 忍術 Ninjutsu, until 藤田西湖氏 Fujita Saiko-shi, was extremely orthodox in both technique and spirit, but with 初見氏 Hatsumi-shi, while inheriting ancient techniques, its spirit is modern, aspiring to the internationalization of 忍法 Ninpō, managing 武神館 Bujinkan, and striving to guide juniors. Many foreign martial artists learn from him, and presently, 初見道場 Hatsumi Dōjō branches exist in イスラエル Isuraeru, インド Indo, 英 Ei, 仏 Futsu, 米 Bei, スイス Suisu, デンマーク Denmāku.
Three Last Ninja Excerpts from the book Ninpō Chōjin no Sekai by Ōhira Yōsuke.
Endorsement by Hatsumi Yoshiaki 34th Sōke of Togakure-ryū Ninpō 28th Sōke of Kukishinden Happō Hiken
Upon hearing that Professor Ōhira was publishing an introductory book on ninjutsu, I was convinced that it would undoubtedly become an exceptional work on the subject. This confidence stems from the fact that Professor Ōhira has dedicated decades to researching ninjutsu—not merely by studying historical texts or research books on the subject, but by forming deep, familial bonds with living ninjas over many years. I am one of those ninjas.
Therefore, Professor Ōhira possesses knowledge of secret teachings (hiden) that a mere researcher could never glimpse.
I believe that ninjutsu is, in essence, a method of mastering the art of living with a spirit of harmony, peace, and joy (kasei waraku). To this end, ninjutsu practitioners have honed their wisdom to live happily by cultivating their body, mind, and spirit through endurance (nin).
In today’s chaotic era, isn’t the proper application of ninjutsu—despite its potentially dangerous nature—precisely what modern society needs? This book, which comprehensively elucidates all aspects of ninjutsu, not only explains the art but also serves as a personal guide for navigating life. This is why I, as a ninja, proudly endorse it to the world (kōko).
Yōsuke Ōhira (大平陽介) Writer and literary critic. Real name: Ryōichi Yahata. Born in 1904 in Fukushima Prefecture. After dropping out of Chūō University’s Faculty of Law, he worked at Shinchōsha before serving as the inaugural editor-in-chief of NHK’s monthly magazine Broadcast and the Freedom Publishing Association’s Reading Outlook (a predecessor to the current Weekly Reading Person). He is currently a standing committee member of the Tokyo Writers’ Club and a councilor of the Japan Children’s Literature Association. His representative work is Full Moon Literature (Shunyō Bunko). Alongside his prolific writing career, he has a keen interest in exploring ancient martial arts (kobudō), and has authored works such as Sword Courage Record (Daidō Inshokan), which incorporates the secrets of martial arts. This book also reflects a portion of his extensive research accumulated over many years.
大平陽介 Ōhira Yōsuke 忍法・超人の世界 Ninpō Chōjin no Sekai
Published January 1, 1975 254 pages ISBN-10 : 4026060314 ISBN-13 : 978-4026060316
The first class of this trip was with my mentor, Noguchi sensei, Sōke of Kotō ryū. (1) I trained with him only from 1993 to 1997. After the opening of the first Honbu (2), Sensei authorised me to attend classes by the Shi Tennō: Senō, Nagato, Oguri, and Noguchi (3). That is still the case today. (4)
After visiting Japan every four months for many years, I only returned to Honbu in March 2023. (5) When he entered the dojo, we hugged. That was an emotional moment. After the four-year pandemic break, those two years felt even longer.
As Noguchi sensei is the new Sōke, someone asked to study the Kotō Ryū. We then reviewed the Shoden no Kata: Yokutō, Ō Gyaku, Koyoku, Hōteki, etc. I was ready (for once) as I taught the Kotō shoden no kata for a seminar I gave two months ago. Even though these movements are well known, Noguchi sensei always gives a subtle twist to the basic form, transforming it into something more interesting.
The Kotō Ryū is a straightforward style of fighting, often compared to a form of Karate. It makes sense as the name is related to the tiger (6). The first meaning would be to knock down the tiger, but after this class, we can also define it as “the tiger knocking down its prey”. The many variations we studied were also heading in this direction. Back in 2000, I recall Sensei saying that the Kotō Ryū style of fighting involves protecting ourselves and controlling Uke until a weakness, or suki, in Uke’s defence is revealed, and then attacking swiftly to “knock down” the opponent. Hatsumi Sensei added it was “to get the knack” (7), which is quite different to the common understanding of “breaking the bones”, which refers to Koppō Jutsu. After all, the Kotō Ryū is a style of Koppō Jutsu (8)
During class, we focused on three essential points:
It all starts with a Kamae. Noguchi sensei insisted on using the Kamae to unfold the waza. It doesn’t have to be the basic, rigid form we train beginners in; it’s more something close to the Kamae. Therefore, adapting our movements to Uke’s reactions is simpler. Remember that Kamae refers to both physical and mental attitude or posture. The Tai Gamae is the stance; the Kokoro Gamae is the mental attitude.
Yoko Aruki is the perfect tool for attacking Uke and retreating safely. Having the feet pointing at Uke makes it easy to jump in and out while applying the waza. Having the feet parallel to one another increases the reach of the attack. It is stronger. Also, when crossing the legs in Yoko Aruki, the supporting leg can reorient the foot to facilitate getting the feet parallel at the end of the movement. During a Daikomyo Sai, Hatsumi Sensei trained us to jump from Shizen onto the toes of our partner from the length of a mat (6 shaku). Both Uke and Tori are in Shizen no Kamae on the edges of a 1.8m mat. Tori, standing still, would jump onto Uke’s feet and jump back into position. That is a good warming-up exercise to consider implementing in your training. (9)
The last one concerns the kamae of “Superman flying“. Noguchi sensei mimicked Superman flying with his arms extended in front of him. It was like an overextended Hoko no kamae. That allows Tori to reach out more easily and accelerate the attacks.
Try to implement these three elements (kamae, yoko aruki, and Superman) into your waza next time you train the Kotō Ryū. If you do, the gokui will appear, and you will create movements adapting naturally to Uke’s movements. A Densho doesn’t fight, but gives you the keys to adjust the form to the situation.
Noguchi said that we have to give Uke the death he requires for his reactions in the fight. We don’t do à “waza”; we have to master the waza to apply the gokui.
We don’t fight Uke; we answer his questions painfully.
_______________
Noguchi sensei became my teacher in 1993 when Hatsumi sensei asked me to train exclusively with him and Noguchi Sensei, no other teachers. I obeyed. And my taijutsu today is widely influenced by his understanding of the Bujinkan Budō.
The first honbu opened in 1997, on an auspicious day: the 10th day of the 10th month (October) of the 10th year of the Heisei era, at 10:10 p.m. As you can guess, Sensei has a fondness for numerology.
The Japanese Shi Tennō are the major disciples of Hatsumi Sensei. The Yūro Shi Tennō are Sveneric Bogsater, Peter King, Pedro Fleitas, and Arnaud Cousergue.
Noguchi sensei was also at the Paris Taikai with Hatsumi Sensei both times in 1993 and 1997.
I have been travelling to Japan to train with Sōke since 1990, thanks to Pedro Fleitas. Initially, I visited once, then twice a year. When I got promoted to Jūgodan in 2004, I came three times a year until 2019. Due to the pandemic and professional obligations, I returned only in February 2023.
The kanji for Kotō Ryū is 虎倒流: 虎 (ko) = tiger; 倒 (tō) = to knock down or topple; 流 (ryū) = school or style. So, 虎倒流 means “Tiger Knockdown School” or “Tiger-felling Style.” 虎/tora/tiger (Panthera tigris)|drunkard; drunk; sot 倒/sakashima/reverse; inversion; upside down|unreasonable; absurd; wrong
To get the knack means to learn to do something well, to acquire a special skill or technique so well that it becomes second nature. It is a long process.
“Breaking the bones”: This is how Koppō jutsu was presented at the beginning of the Bujinkan. It was more about “breaking the bone structure/posture) With strong hits. This is compatible with Sensei’s explanations of 2000. Both are correct.
Reminder: Yoko Aruki is from Kotō ryū; the feet are pointing in the same direction. Jūji Aruki is from Gyokko ryū; the feet are perpendicular.
Excerpt about Ninja History from the book Ninjutsu Sono Rekishi To Ninja by Heishichirō Okuse.
Ancient Ninjutsu (600-700)
The Beginnings of Ninjutsu: A Chinese Origin. Ninjutsu did not originate in Japan. Between the 6th and 7th centuries, the knowledge of Chinese military strategy, specifically the “Art of Espionage” (Yōkan-jutsu) from Sun Tzu’s The Art of War (Sunzi), was imported into Japan. This became the “seed of ninjutsu,” which, over many centuries, evolved during the Warring States period (15th–16th centuries) into Japan’s unique “ninjutsu,” distinct from military strategy (Heihō) and martial arts (Bujutsu). This section, therefore, naturally focuses on tracing when, by whom, and how this “seed of ninjutsu”—the Yōkan-jutsu from Sunzi—was brought to Japan and put into practical use. The five chapters of this section all address this central theme.
Ninjutsu in the Nara Period (710-794)
The Nara period (710–794 CE) was a time when Japan’s ancient indigenous culture (Shinto culture) and the newly imported Chinese culture (Buddhist culture) intermingled and began to integrate. Due to the necessities of religious conflicts, the Chinese military strategy of espionage (Yōkan), inherited from previous eras, was further developed by Shugendō practitioners (mountain ascetics) into what became known as Yamabushi Heihō (Yamabushi Military Strategy). This development is a significant event in the formation of ninjutsu and must be thoroughly explored. Additionally, the introduction of esoteric Buddhism (Mikkyō) and the propagation of Buddhist teachings (Fukyō), which strongly influenced this process, are indispensable elements in the formation of Yamabushi Heihō that cannot be overlooked. This chapter focuses on tracing the historical successors of The Art of War (Sunzi)’s military strategy (espionage), examining the Shugendō tradition and its founder, En no Gyōja, and exploring how esoteric Buddhism, ancient Shinto, and Sunzi’s military strategies were blended in the hands of Yamabushi ascetics, evolving into something new.
Ninjutsu in the Heian Period (794-1185)
The “seed of ninjutsu,” known as Yamabushi Heihō (Yamabushi Military Strategy), spread across Japan during the Heian period (794–1185 CE) as it absorbed Yin-Yang philosophy (Onmyōdō) and expanded alongside the growth of esoteric Buddhism (Mikkyō), marked by the construction of Mikkyō temples nationwide. As these temples began employing warrior monks (Sōhei) to protect and develop their estates, Yamabushi Heihō spread from the Yamabushi to the warrior monks. Over time, interactions between warrior monks and samurai (Bushi) emerged, resulting in the transmission of Yamabushi Heihō techniques to the samurai class. This phenomenon was not limited to specific regions but became a nationwide trend. Notably, the rising Genpei clans—particularly the Genji (Minamoto clan)—developed a special relationship with Yamabushi Heihō. This section focuses on these historical developments, examining how figures such as Yin-Yang masters (Onmyōji), Genji warriors, Fujiwara Chikata, Kōga Saburō, the Hattori clan, and Heian-period bandits mastered Yamabushi Heihō, emerging as early inheritors of these techniques. Readers should pay particular attention to the frequent appearance of individuals from Iga and Kōga in these phenomena, as this highlights their significant role in the early development of ninjutsu.
Ninjutsu in the Genpei Period (1180-1185)
By the end of the Heian period (794–1185 CE), with signs of nationwide turmoil emerging, Yamabushi Heihō (Yamabushi Military Strategy) reached a stage of completion. This is exemplified by the Kurama Eight Styles (Kurama Hachiryū), a system in which military strategy (Heihō), martial arts (Bujutsu), and ninjutsu (Ninjutsu) were still grasped as a unified whole, not fully independent, but internally beginning to diverge into specialized fields. Through the efforts of Minamoto no Yoshitsune and Ise Saburō Yoshimori, the first “ninjutsu manual” known as Yoshitsune-ryū Ninjutsu was written. While its contents are not yet fully separated from military strategy, the fact that ninjutsu emerged in a distinct, albeit incomplete, form from its foundation in the Kurama Eight Styles is noteworthy. Another significant development of this era is the clear emergence of ninja clans in Iga. The fully developed form of Yamabushi Heihō was being passed down to the local warrior families (Jizamurai or Dogō, local chieftains) of Iga and Kōga. From this period onward, Yamabushi Heihō began to gradually transform into what would be recognized as “ninjutsu.”
Ninjutsu in the Kamakura Period (1185-1333)
During the Kamakura period (1185–1333 CE), the introduction of Zen Buddhism, which rapidly spread among the samurai class, had a significant impact on the later development of ninjutsu—a point worth noting. In Iga and Kōga, the samurai groups that emerged internally, while operating in different environments, adopted a strict isolationist stance toward external forces. Internally, they began to advance their governance through a coalition of local chieftains (Dogō), employing a policy of direct military resistance against external enemies (through samurai unity) and a strategy of coexistence internally (balancing power among factions). It’s notable that the methods they adopted during the chaotic Sengoku period were already taking root at this time. Additionally, two key developments influenced the later evolution of Iga and Kōga ninjutsu: the Iga ninja clan leaders, the Hattori (and Momochi) clans, reconciled with the newly arrived Ōe clan (from Kawachi), extending their influence into Yamato and Kawachi; and the Kōga ninja clans came under the control of the Sasaki clan, the provincial protectors, establishing a communication route to Kyoto (Kyōraku).
Ninjutsu in the Nanbokuchō Period (1336-1392)
During the late Kamakura period (1185–1333 CE), amidst the turmoil surrounding the fall of the Hōjō regime, a military genius, Kusunoki Masashige, rose to prominence. Masashige emerged as a master of unconventional tactics (Kihenpō), the foundation of ninjutsu, completing the framework for both offensive and defensive unconventional strategies that had been initiated by Minamoto no Yoshitsune during the Genpei period. Additionally, he established an independent organization for espionage and stratagem, advocating for the necessity of intelligence and covert operations during peacetime—what he termed Dakkōnin (political ninjutsu)—within the field of military science (Heigaku). The ninjas of Iga and Kōga, alongside the Yamabushi, became a faction supporting the Southern Court through Masashige’s mediation.
Ninjutsu in the Sengoku Period (1467-1615)
The Sengoku period (1467–1615 CE) marks the era in which ninjutsu reached its full maturity. It is only in this period that we can finally encounter “complete” ninjutsu. During this time, “ninjutsu-like” practices emerged in various regions across the country, but apart from the ninjutsu of Iga and Kōga, no other form can be considered truly complete. In this sense, Iga and Kōga ninjutsu represents the pinnacle of Japanese ninjutsu, far surpassing the hastily developed, naturally occurring ninjutsu of other regions in terms of sophistication. This is precisely why Iga (and Kōga) ninjas were so highly valued during this period. It would not be an exaggeration to say that among the military commanders who best utilized ninjutsu, Tokugawa Ieyasu stands as the greatest and most significant. The influence of ninjutsu and ninja organizations in his rise to dominance cannot be overlooked. Another notable fact is the significant impact that the introduction of gunpowder had on Iga (and Kōga) ninjutsu during this period. Additionally, a key characteristic of this era is the emergence of distinct schools (Ryūha) in military science (Heigaku), martial arts (Bujutsu), and ninjutsu (Ninjutsu), with these disciplines developing a high degree of artisan-like specialization (Artisan-sei) while also becoming professionalized.
Ninjutsu During the Oda-Toyotomi Period (1568-1615)
The Oda-Toyotomi period (roughly 1568–1615 CE, spanning the reigns of Oda Nobunaga and Toyotomi Hideyoshi) was the era in which ninjutsu, perfected during the Sengoku period, flourished most vibrantly. As mentioned previously, Japan’s largest and most formidable ninjutsu organizations—Iga-ryū and Kōga-ryū—were almost exclusively under the control of Tokugawa Ieyasu during this time. Consequently, the history of ninjutsu in this period cannot be examined independently of Ieyasu’s policies and actions. The activities of ninjas during this era are directly tied to the establishment of the Tokugawa regime. This section explores the adversarial relationship between Iga and Kōga ninjas and Oda Nobunaga and Toyotomi Hideyoshi, focusing on the events surrounding the Tenshō Iga Rebellion (1579–1581 CE), which was a major cause of this enmity. It also examines the movements of Iga and Kōga ninjas during this period, their nationwide dispersal, the origins and evolution of the Iga Dōshin (a ninja unit) within the Tokugawa Shogunate, and the history of the shogunate’s ninja management system within Iga.
Ninjutsu During the Tokugawa Period (1603-1868)
Overview of Ninjutsu’s Decline. Up until the early Tokugawa period, ninjutsu reached its peak, but as the demands of the era shifted, it rapidly entered a period of decline. The techniques and organizations of ninjutsu began to disintegrate swiftly, transitioning from political espionage to judicial espionage. It was during this time that ninjutsu’s secret manuals started to emerge publicly—a natural phenomenon given the changing times. As the era of judicial espionage began, the rise of talented figures like Ōoka Echizen-no-Kami (Ōoka Tadasuke), who became the town magistrate, marked the entry of Kishū-ryū ninjas into the ranks of covert operatives. The Shimabara Rebellion Chronicle (Shimabararanki) serves as a valuable record, casting a faint light on ninjutsu during its extinction phase alongside the last of the ninjas.
Excerpt above about Ninjutsu History from the book Ninjutsu Sono Rekishi To Ninja by Heishichirō Okuse.
Heishichirō Okuse (奥瀬 平七郎, おくせ へいしちろう) was a Japanese novelist, researcher, and politician born on November 13, 1911, in Ueno, Japan. He passed away on April 10, 1997.
Okuse graduated from Waseda University and studied under the renowned author Masuji Ibuse. He developed a particular interest in ninjutsu (the art of stealth and espionage), contributing to its study and preservation. Professionally, he worked for the Manchurian Telephone & Telegraph Company.
In addition to his literary and research endeavors, Okuse served as the mayor of Ueno from 1969 to 1977. His multifaceted career reflects a deep engagement with both traditional Japanese martial arts and public service.
Ninjutsu Sono Rekishi To Ninja 318 pages was published Showa 38 (1963) by Shokusando
Complete GIKAN-RYU KOPPO TAIJUTSU with MATS HJELM was filmed at the Bujinkan 50 Year Anniversary in Norrköping spring 2025. The theme was Gikan-ryu Koppotaijutsu.
In this video, Mats Hjelm explores the art of Koppo Taijutsu through the lens of Gikan-ryū. He demonstrated the 10 fundamental techniques he learned from Noguchi Sensei during his trips between 2019-2025. Additionally, Mats taught many variations to the 10 techniques.
Download Complete GIKAN-RYU KOPPO TAIJUTSU with MATS HJELM
Experience the essence of Koppo Taijutsu and its applications within the Gikan-ryu system, as demonstrated and explained by Mats Hjelm.
Highlights Include:
10 Fundamental Koppo Taijutsu techniques from Gikan-ryū
This video is from a Seminar in 2025. Recorded in Norrköping, Sweden in May 17-18’th 2025. The seminar was organised by Bujinkan Dojo Norrköping.
About the instructor
Mats Hjelm started training in Bujinkan for the first time around 1983. It wasn’t until 1986 when he had the opportunity to start training more seriously under a Shidōshi. He has taught at numerous seminars all around the world, gone to Japan 3-5 times every year. After he started training he never had a training break. He takes his budo training very seriously! If you want to sponsor a seminar or course, please don’t hesitate to contact him. For more information see his web site toryu.se or come and train with him at Kaigozan Dojo.
Today I had class with Nagase and Furuta 先生方. I wake up early these
days. So I made some coffee with an AeroPress in my hotel room. Then I
went out to take a few street photographs. By the time I had to catch
the train, I was ready for more coffee.
I installed myself at the lunch counter of a cafe. A handsome elderly
woman sat next to me, drinking tea, and eating pasta. Her hair was
pulled tight, and a jacket draped from her shoulders. I noted her
posture with tucked elbows and a delicate use of the fork and spoon.
Holding a proper teacup. I was no match for her.
Nagase and Furuta 先生方
I thought about her as I rode the train to go to Nagase Sensei’s class
at the Bujinkan Honbu Dojo. I normally train with him at his own Dojo,
but things are more convenient now with him having classes at the Honbu.
When he arrived, I helped him unload his bags from the car.
Nagase Sensei started class with a 手解 tehodoki technique leading to both
武者捕 musha dori and 武双捕 musō dori. But these techniques were concealing a
vise like 竹折り take ori against his chest. I was one of the first
students he demonstrated on, and it was so intense that within the first
five minutes of the class I was done. He already had me in survival
mode.
He continued the chain of henka off of the original technique. He
described it as doing Plan A, then if that didn’t work, he did Plan B.
Then he added C and D… all the way to Plan G. The last one locked the
Take Ori by wrapping it with his own belt! Nagase Sensei did these all
sequentially, so the opponent experienced one type of pain, and then
another… and the chain never broke. Until his opponent did.
From there he began to explore three points of control from Ichimonji no
Kamae. He spoke of checking or stopping the next punch. He told us this
was 三心 sanshin using 上段 Jōdan, 中段 Chūdan, and 下段 Gedan… which is also 天
Ten, 地 Chi, and 人 Jin. This all becomes an infinity of 八方 Happō. If you
are a long time subscriber, you may have seen me cover this theory in
more detail from my other classes with Nagase Sensei.
Next, Nagase demonstrated variation of tsuke iri with the hanbō. The
emphasis was still on three points of control. The number three was also
expressed as 無念無想の構 munen musō no kamae, 音無しの構 otonashi no kamae, and
型破の構 kata yaburi no kamae.
He extended this sanshin progression to the levels study within Bujinkan
rank. From 五段 Godan you must develop your taijutsu. At 十段 Jūdan the
study is mastery of bōjutsu. And then 十五段 Jūgodan must perfect kenjutsu.
I will add that not many people know that we have award levels after
Jūgodan that lead up to Daishihan. I didn’t even know this until Soke
gave me these awards and emphasized to me that they were to be given in
order. Hatsumi Sensei has said the focus for us Daishihan is 無刀捕 mutō
dori.
So Nagase Sensei finished with a kenjutsu variation on the take ori that
we did earlier. I really enjoyed the class. Nagase makes me work hard
as his uke. His class is one of the only sessions where I need to tap
out a lot.
Furuta Sensei
I stepped outside for fifteen minutes to eat an おにぎり onigiri and slam
some green tea. Then it was time for class with Furuta Sensei. Furuta
showed up in a great mood because he had just returned from antique shopping with Hatsumi Sensei. I was happy to hear this because Soke’s health has been up and down.
One of Soke’s favorite hobbies is shopping for antique weapons. So they
went to lunch and He made Furuta Sensei buy a yari. I say “made” beause
that is how Furuta described it. Hatsumi Sensei strongly recommends that
Furuta buy things when they find unique weapons or artwork. Furuta said
the yari didn’t even fit in his van, so he had to go back later to pick
it up.
Furuta Sensei started class defending against a grab and punch. He
leaned way back with his shoulder to evade. And just when the opponent
adjusted to this, he would shift back the other direction and disappear.
As the next Soke of 雲隠流 Kumogakure Ryū, this is an example of his
approach to this school.
He applied a bunch of finger attacks to 急所 kyūsho on the opponent’s neck
and face. Furuta Sensei then told us a story about Takamatsu Ōsensei
who was attacked by a wild dog. Takamatsu stood his ground and with one
finger gouged out the eye of the dog and it ran away.
Furuta did these same movements with double knives. He combined it with
the kyūsho control using the fingers. But he also added throwing the
knives as a distraction or to cover distance.
I find these angled evasions with the sharp and low posture that Furuta
Sensei uses to be fascinating. It is very unsettling and confusing as
his opponent. My normal taijutsu isn’t anything like this. Which is
great because it makes me stretch and learn outside my comfort zone.
He finished class with kenjutsu from 棟水之構 Tōsui no Kamae vs a downward
cut. Furuta Sensei dropped his body while his sword intercepted the cut.
But he disappeared. He even dropped his own sword to disguise his
escape. In that moment where he dropped away he controlled the opponent
or took his weapon from him.
Finally it’s time for dinner. This is my chance to write my notes from
all of this wonderful training I did with Nagase and Furuta 先生方. I will
have another class with Furuta Sensei coming up in Japan Report Five
令和6年 …
Excerpt about Ninja and Sake from the book Ninjutsu Hiden by Heishichirō Okuse (page 172-174)
奥瀬 平七郎 Heishichirō Okuse (1911-1997)
I heard this from Master Fujita Seiko, but apparently, to be a ninja, you also need to be quite good at handling sake. There’s not a single mention of sake in the manuals, so there doesn’t seem to be any “special way of drinking,” but given the nature of their profession, ninja had to study every method of winning people over. It’s hard to believe they wouldn’t have used something as convenient as sake for that purpose. However, sake is a tricky thing—if you only encourage others to drink without drinking yourself, it can seem too obvious. In some cases, it might even backfire:
“What’s this? You keep pushing me to drink but don’t touch a drop yourself… What, you’re a teetotaler? Tch, what a boring guy!”
Instead of winning someone over, you might end up being pushed away. This leads me to agree with Fujita’s theory—though it’s not written in the manuals, a ninja must have been a considerable drinker, which seems entirely reasonable.
Now, regarding the drinking capacity of ninja: in the past, among ninja circles, someone who couldn’t drink much was said to be at the 嗅ぐ級 Kagu-kyū (sniffing level). Those who could handle a bit more were at the 嘗める級 Nameru-kyū (licking level). Beyond that, they’d enter the 飲む級 Nomu-kyū (drinking level). You might think the “sniffing” level meant just two or three cups, or at most a bottle (tōkuri (~180 mL to 360 mL), but that would be a huge misconception.
Standard Sake bottle is 1 Shō (1.8 Litre).
At the “sniffing” level, the minimum qualification was about one shō (roughly 1.8 liters, standard bottle size) of sake. To reach the “licking” level, you had to be able to drink at least five shō (about 9 liters), or you wouldn’t qualify. To be considered at the “drinking” level, you’d need to handle over one to (about 18 liters). And to be called “a good drinker,” you’d have to drink more than three to (54 liters) on your own—otherwise, you’d be labeled a liar.
In 1951 (Shōwa 26), Ueno City held a “Children’s Exposition,” and I was tasked with planning it. During that time, I came up with the idea for a “Ninjutsu Pavilion,” which marked the beginning of my connection with Fujita-sensei. I hope for good relations in the future, but back then, I had the chance to drink with Fujita about once every three days. However, I’m the kind of man who’s “not even fit to stand upwind of a ninja”—after just two or three cups, my face turns bright red. Master Seiko, being a proper ninja, would never get drunk on just one or two shō. When I asked the tactless question, “Sensei, how much can you drink?” he replied with a serious expression,
“Oh, I’m not much of a drinker. Just at the licking level, I suppose.”
After accompanying him four or five times, I realized that Fujita’s drinking capacity perfectly matched the “ninjutsu standard.” Truly, a gentleman knows himself—his capacity was five or six shō.
At five or six shō, he’d never get drunk. I remember thinking,
Fujita Seiko
“Well, at this level, there’s absolutely no worry of being killed by sake,” and I was oddly impressed.
In the past, even the least capable drinkers among ninja likely trained to at least reach the “sniffing” level. If you could drink one shō, you could pretend to be drunk while keeping your wits about you, taking advantage of your opponent’s inebriation to subtly probe their intentions or quickly build rapport by slapping shoulders together—something a ninja could do with ease.
Since hearing that you can’t become a ninja without reaching at least the “sniffing” level of drinking, I’ve completely given up on becoming one. For one, there’s the saying “you need to be alive to enjoy life,” and secondly, as a salaried worker, the “training fees” for such drinking would be a considerable burden.
For these reasons, I’ve limited myself to merely studying ninjutsu.
Excerpt above about Ninja and Sake from the book Ninjutsu Hiden by Heishichirō Okuse (page 172-174)
Heishichirō Okuse (奥瀬 平七郎, おくせ へいしちろう) was a Japanese novelist, researcher, and politician born on November 13, 1911, in Ueno, Japan. He passed away on April 10, 1997.
Okuse graduated from Waseda University and studied under the renowned author Masuji Ibuse. He developed a particular interest in ninjutsu (the art of stealth and espionage), contributing to its study and preservation. Professionally, he worked for the Manchurian Telephone & Telegraph Company.
In addition to his literary and research endeavors, Okuse served as the mayor of Ueno from 1969 to 1977. His multifaceted career reflects a deep engagement with both traditional Japanese martial arts and public service.
Ninjutsu Hiden 350 pages was published Showa 34 (1959) by Bonbonsha
