Skip to content

History of Ninjutsu: Evolution of Ninja Terms

From 武神館兜龍 Bujinkan Toryu by Toryu

History of Ninjutsu: Evolution of Ninja Terms

The author Yumio Nawa dressed up as a Ninja

Ninjutsu history begins with terms like 忍者 Ninja and 忍法 Ninpō, the most commonly accepted in modern times, which are newly coined words from the 昭和 Shōwa era (1926–1989). The term 忍術使い Ninjutsu Tsukai (Ninjutsu user) is a newly coined word from the 明治 Meiji (1868–1912) and 大正 Taishō (1912–1926) eras. In the 江戸 Edo period (1603–1868), the representative terms were 忍び Shinobi or 忍びの者 Shinobi no Mono (Shinobi person), and the techniques were called 忍術 Ninjutsu.

Using the term お庭番 Oniwaban (garden guard) in the same way as Shinobi no Mono is a mistake. Oniwaban is a job title in the shogunate, but since Shinobi were assigned to this role, the shogunate’s covert agents were called Oniwaban. However, it is strange for television or movies to feature Shinobi as the Oniwaban of the 上杉家 Uesugi family or the 伊達家 Date family. The names for Shinobi varied across different domains and regions.

In general, even in China, the homeland, the names for Shinobi varied across different regions with various designations.

  • 遊子 Yūshi (In 大橋 Ōhashi, Shinobi are called Yūshi. Does this mean one who travels between enemy and ally, or one who takes the form of a playful figure?)
  • 行人 Kōjin (In 陰経 Inkyō, Shinobi are called Kōjin. Like Yūshi, it likely means a person who goes back and forth between enemy and ally.)
  • 遁形 Tongyō (In 五雑爼 Gozassho, they are called Tongyō. Shinobi are not combatants; their essence is to gather information and escape, meaning a person who masters the form of passing through.)
  • 間 Kan (In the state of 具 Chu, they were called Kan. The meaning of Kan is as previously described, and from this, Japan created the term 間者 Kanja [spy].)
  • 課 Saku (In the 春秋 Spring and Autumn period, they were exclusively called Saku. The literal meaning of Saku includes “to spy.” It refers to the role of spying on and probing the enemy’s situation.)
  • 遊偵 Yūtei, 細作 Saisaku, 姦細 Kansei, 好細 Kōsei (After the Warring States period, in China, Shinobi were called Yūtei, Saisaku, Kansei, Kōsei, etc. This likely means traveling between enemy and ally in a playful form to spy on the enemy’s situation, probing the enemy’s situation in detail and reporting to the general, who then uses this to devise detailed strategies. Additionally, calling Shinobi 森細 Seisai or 妊細 Ninsei likely means a job that appears ordinary on the surface but involves deep, cunning schemes behind the scenes.)
Water Spider (Explained on page 78)

In ancient China, they were called as above, but after being introduced to Japan, from the Muromachi period (1336–1573) to the early Warring States period, they were called:

  • 草 Kusa (Grass)
  • かまり Kamari (Spy)
  • 水彼 Suppa (Water Other)
  • 乱破 Rappa (Chaos Breaker)
  • 突破 Toppa (Break Through)
  • 出抜 Denuki (Exit Pull)
  • うかみ処 Ukami Dokoro (Spy Place)

武田玄 Takeda Shingen called Shinobi the 三つの者 Mittsu no Mono (Three Types of People). He divided them into three roles, and collectively referred to them as the 三つの者 Mittsu no Mono (Three Types of People).

… and so on.

  1. —間見 Kanmi (observer),
  2. 見分 Mikewake (inspector), and
  3. 目付 Metsuke (overseer)

上杉謙倍 Uesugi Kenshin called Shinobi 猿 Nokizaru (roof monkeys).

織田長 Oda Nobunaga called Shinobi 製談 Kyōdan (conversers).

In the Tokugawa period, Shinobi themselves used the characters 獺盗 kawai nui (otter thief) to read as Shinobi, or, seemingly disliking the sound of the word Shinobi, they tried to avoid using the character 忍び Shinobi as much as possible. They used terms like:

  • 早道の者 Hayamichi no Mono (fast path person)
  • 早足組 Hayaashigumi (fast-footed group)
  • 忍び目付 Shinobi Metsuke (Shinobi overseer)
  • 物聞き Monokiki (listener)
  • 黒はばき Kurohabaki (black leg guards)
  • 小隼人組 Kohayato Gumi (津軽藩 Tsugaru Domain, a Shinobi group led by 中川小隼人 Nakagawa Kohayato, a 200-koku retainer)
  • 鳥組 Tori Gumi (Sendai Domain, a guerrilla unit led by Shinobi 細谷十大夫 Hosoya Jūdayū)

These names make it hard to think of them as groups of Shinobi. Even in modern times, people from Shinobi lineages strongly dislike announcing that their family has Shinobi blood.

If a Shinobi is known to be a Shinobi, they can no longer fulfill their role. In other words, they become useless, and simply being a Shinobi led to discriminatory treatment by ordinary samurai, being shunned, and even having marriage proposals rejected—a dark past they carry. Why this happened will be explained later, but the essence of a Shinobi is inherently such, a matter of fate, and nothing can be done about it.

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

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

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

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

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

Ninjutsu and Shugendo: A Shared Mystical Legacy

From 武神館兜龍 Bujinkan Toryu by Toryu

Ninjutsu and Shugendo: A Shared Mystical Legacy

Ninjutsu and Shugendo are two enigmatic Japanese traditions that blend martial skill with spiritual mysticism. Their roots trace back to the fall of 百済 Baekje in 663 AD, when refugees, including 姚玉虎 Chō Gyokko (Yao Yuhu), fled to Japan. Chō Gyokko, a historical figure, brought martial techniques and Taoist practices from 唐 Tō (Tang China), influencing early Ninjutsu schools like 玉虎流 Gyokko-ryu and 虎倒流 Koto-ryu. Around the same era, 役行者 En no Gyōja (En the Ascetic) established 修験道 Shugendo, a path of mountain asceticism. This article explores their shared origins and practices, featuring direct insights from 山田雄司 Yamada Yuji (Professor Yuji Yamada) and 長谷川智 Hasegawa Satoshi (Yamabushi Satoshi Hasegawa) in their original Japanese kanji.

The Baekje Influence on Ninjutsu and Shugendo

The collapse of Baekje spurred a wave of cultural exchange as exiles introduced combat skills and spiritual traditions to Japan. Figures like Chō Gyokko played a pivotal role in shaping Ninjutsu’s foundations. Meanwhile, Shugendo emerged as a unique spiritual discipline. Professor Yamada highlights a critical link between the two:

「九字護身法は元々中国の道教のもので、それが修験道で入山する時に自分の身を霊的に守護するための作法になりました。忍者も印を結んだり九字を切ったりしますが、これらは修験道由来です」
(Translation: “The nine-syllable kuji-in came from Chinese Taoist practices, adopted by Shugendo to spiritually protect oneself in the mountains, and later passed to Ninjutsu”).

This statement underscores how Baekje’s legacy influenced both traditions through shared esoteric practices.

Shared Practices: Kuji-in and Mountain Training

The 九字印 kuji-in hand seals represent a profound connection between Ninjutsu and Shugendo. In Ninjutsu, these gestures served both practical and mystical roles. Yamada explains:

「忍者が印を結ぶのは、命がけの任務に臨む際に神仏の加護を得て、自身のメンタルを安定させるという実用的な面も大きかった」
(Translation: “Ninjas used kuji-in to gain divine protection and mental stability before life-or-death missions”).

In Shugendo, the seals carried a deeper spiritual weight. Hasegawa elaborates:

「修験道は密教の影響が強いので、密教で重視される「三密（身・ロ・意）」の「身＝身体」で、ある種の形を作ることで精神的な影響を起します」
(Translation: “In Shugendo, influenced by esoteric Buddhism, the ‘three secrets’—body, speech, mind—are used, with the body forming seals to create spiritual effects”).

Mountains also played a central role in both disciplines. Yamada notes:

「忍者は山中で修行を積んで、肉体的な鍛錬と同時に「何があっても大丈夫だ」という精神性を身に付ける」
(Translation: “Ninjas trained in mountains to build endurance and a resilient mindset”).

Hasegawa complements this:

「山を歩くのは感性を磨くのに重要で、どんな此細な変化も見過ごさずに察する」
(Translation: “Walking in mountains sharpens the senses, teaching one to notice subtle changes”).

These quotes reveal how kuji-in and mountain training bridged the martial and mystical aspects of Ninjutsu and Shugendo.

A Lasting Connection

The contributions of Baekje exiles like Chō Gyokko shaped Ninjutsu, while En no Gyōja forged Shugendo’s path. Despite their differences, both traditions share rituals like kuji-in and a reverence for mountain training, as evidenced by the exact words of Yamada and Hasegawa. This fusion of martial and mystical elements highlights their intertwined heritage.

References

The full article 忍者と修験道 was published in Hiden Magazine June 2022.

長谷川智 Hasegawa Satoshi, a Yamabushi and Hitotsubashi University lecturer, has studied yoga, martial arts, and bodywork for 38 years. He leads Shugendō training, teaches at Asahi Culture Center, and serves as a senior “Hone Navi” director. His works focus on physical health, mountain asceticism, and traditional training methods.

山田雄司 Yamada Yuji, born in 1967, is a professor at Mie University specializing in medieval Japanese religious history and ninja studies. A martial arts enthusiast, he has authored books on ninjutsu and ninja history. He studied at Kyoto and Tsukuba Universities and previously worked in historical research and academia.

The post Ninjutsu and Shugendo: A Shared Mystical Legacy appeared first on 武神館兜龍 Bujinkan Toryu.…

Bujinkan Ranks: The Circular Path of Mastery Through Three Triads

From 武神館兜龍 Bujinkan Toryu by Toryu

Bujinkan Ranks: The Circular Path of Mastery Through Three Triads

Bujinkan ranks shape more than just skill for me as a practitioner. They reflect a profound evolution, echoing the ninja’s circular wisdom of body, mind, and spirit. In our dojo, we distill this into three triads: 天地人 Ten-Chi-Jin, 守破離 Shu-Ha-Ri, and a mysterious third I call 禅空無 Zen-Ku-Mu. Together, these nine stages form a circle, with the final triad as zero—the ultimate enlightenment. Here’s how I see this progression shaping our ranks, starting anew at each milestone.

天地人 Ten-Chi-Jin: The Foundation of Movement, Technique, and Flow

The first triad, 天地人 Ten-Chi-Jin (Heaven-Earth-Man). Builds the ninja’s foundation from 9th Kyū to 5th Dan, culminating at the 師導士 Shidōshi (teacher) level.

天 Ten (Heaven) – Movement (9th Kyū to 1st Dan)

We begin with movement—learning to shift, roll, respond. It’s fluid, like the sky’s rhythm. These beginner *Bujinkan ranks* from 9th Kyū to 1st Dan should hone awareness and flow. A natural base to launch into Chi upon earning 1st Dan.

地 Chi (Earth) – Techniques (1st Dan to 4th Dan)

Once 1st Dan is received, we ground ourselves in techniques—strikes, locks, throws. Understanding the knack of why they work, like earth’s stability. From 1st to 4th Dan, these ranks should sharpen precision and adaptability, preparing us for Jin.

人 Jin (Man) – Integration (4th Dan to 5th Dan)

At 4th Dan, we dive into 人 Jin, blending movement and technique via the Jin Ryaku no Maki. An introduction to the 9 Ryūha’s selected *Waza*. It’s about grasping the flow, intuiting harmony. By 5th Dan, 士道師 Shidōshi embody this seamless unity.

天地人 Ten-Chi-Jin cycles from raw motion to refined flow, a loop we master as teachers.

守破離 Shu-Ha-Ri: The Evolution of Mastery

From 5th Dan to 大師範 Dai Shihan, 守破離 Shu-Ha-Ri (Protect-Break-Leave) spirals us through mastery, each stage igniting at a new rank.

守 Shu (Protect) – 5th Dan to 10th Dan

With 5th Dan earned, we enter 守 Shu, learning all 9 Ryūha techniques. Taijutsu, weapons like swords and staffs—exactly as intended to protect the art’s future. These ranks from 5th to 10th Dan test depth and fidelity, preserving our ninja legacy.

破 Ha (Break Up) – 10th Dan to 15th Dan

At 10th Dan, 破 Ha unlocks freedom—breaking and experimenting with all techniques to forge endless connections and possibilities. I’d love these ranks to showcase creativity, adapting Waza like a ninja’s cunning through to 15th Dan.

離 Ri (Leave) – 15th Dan to Dai Shihan

Reaching 15th Dan, 離 Ri transcends structure and ego. 大師範 Dai Shihan trust intuition for Kami Waza. Divine techniques—acting perfectly in the moment without thought, a departure into pure essence.

守破離 Shu-Ha-Ri refines us, a spiral beyond the dojo’s walls.

禅空無 Zen-Ku-Mu: The Circle of Zero

Beyond ranks lies my third triad: 禅空無 Zen-Ku-Mu (Absolute-Space-Void). Unbound by ranks—a circular mystery for the enlightened, where nine stages become zero.

禅 Zen (Absolute)

Unity of all.

“Root and sky entwine,
Nothing holds the endless now,
Circle turns to none.”

空 Ku (Space)

Boundless possibility.

“Wind carves the silence,
Void dances in open fields,
One step, none remain.”

無 Mu (Void)

Pre-action stillness.

“Shadow cloaks the flame,
Space hums where no foot has stirred,
Zero breathes alive.”

Conclusion: Bujinkan Ranks as Nine to Zero

I see Bujinkan ranks as a circle: 天地人 Ten-Chi-Jin (three) builds the base. 守破離 Shu-Ha-Ri (three) evolves it. And 禅空無 Zen-Ku-Mu (three) completes the nine, circling to zero. Kyū flows into Dans, Dans spiral through the 9 Ryūha and beyond, and the rare master returns to nothing—a living haiku with a smirk. Where are you on this path?

Thanks to Grok 3 Beta for the help.

The post Bujinkan Ranks: The Circular Path of Mastery Through Three Triads appeared first on 武神館兜龍 Bujinkan Toryu.…

UNA VISIÓN KAFKIANA DE LAS ARTES MARCIALES

From Gassho by Unryu Blog

 

UNA VISIÓN KAFKIANA DE LAS ARTES MARCIALES

Por Pedro Fleitas Gonzalez


 

Hace unos días aprovechando una visita a Praga, una ciudad encantadora en todos sus aspectos visité el museo del escritor Franz Kafka.

Para quienes no conozcan su obra. La historia se refiere a su figura como un escritor atormentado.

Según afirma National Geography en sus estudios históricos: “Kafka plasmó sus más íntimos sentimientos en su obra, que fue prácticamente en su totalidad publicada póstumamente a pesar del deseo del escritor checo de verla destruida tras su muerte.”

Lo cierto es que, desde mi época universitaria, sus obras me atraían de sobremanera, obviamente “metamorfosis”, “el proceso”, “carta al padre y otros escritos” realmente me permitían acceder a esa parte íntima personal que a veces es demasiado inaccesible por su incomodidad.

Las artes marciales tienen muchos aspectos kafkianos ya que desde una visión adjetiva del inventado término de “kafkaesque” es aplicado a todos los tipos de situaciones intolerables o sin esperanzas.

La práctica de las artes marciales se asoció y aún sigue ocurriendo idénticamente desde muchas visiones neófitas a una práctica relacionada de manera exclusiva a la lucha, a los conceptos de ganar o perder, al “matonismo exuberante”, a la arrogancia, a la falta de cultura, a una excesiva práctica deportiva, a una excesiva práctica conteniendo aspectos tradicionales japoneses, a fanatismos venenosos y podría seguir.

Los practicantes de artes marciales realizan sus rutinas de estudio y prácticas, al menos en nuestro centro, Bujinkan unryukai, como una búsqueda de paz interior, un alejamiento de tanto ruido externo, de un desarrollo del amor y el respeto hacia si mismo y los demás.

También aprender a desarrollar la intuición para tomar distancias de situaciones sin solución, contaminantes y estar alerta de manera relajada antes personas que emiten una energía muy densa, violenta y maliciosa y siempre desde la aplicación de la comprensión.

Se habla de Kafka y se relaciona a la sin esperanza y a las situaciones intolerables. Ahí esa conexión ya que un concepto y su antagónico se necesitan mutuamente.

Los artistas marciales crean esperanzas, pero más aún se dedican a aprender a crear “certezas”.

Los artistas marciales entienden las situaciones intolerables como un camino de aprendizaje de la tolerancia saludable poseyendo una visión clara de que hay situaciones intolerables que son como son y más no se puede hacer hacia el exterior para producir el cambio.

La opción es producir el cambio desde el interior de uno mismo, tarea ardua, lleva su dedicación y conlleva mucha paciencia. Y cuando hablo de paciencia me refiero a ser capaz de empezar algo y esperar a que acabe de manera natural, no forzada.

Creo que en los tatamis hay demasiadas personas que se acercan y ya están terminando sin ni siquiera haber comenzado, ¡No se dan la oportunidad! Tienen prisas, no desean la transformación y están escasos de perseverancia.

Todo esto tiene solución, dejarse llevar por la guía de la persona adecuada con confianza y presencia y que haya experimentado situaciones similares.…

忍の朝の儀式: Ninja Morning Rituals

From 武神館兜龍 Bujinkan Toryu by Toryu

忍の朝の儀式: Ninja Morning Rituals

Ninja morning rituals are fascinating practices rooted in ancient Japanese traditions that combine physical discipline, spiritual focus, and esoteric techniques. These routines were designed to empower practitioners with clarity, strength, and divine protection, often invoking deities like 摩利支天 Marishiten, a guardian of light, prosperity, and invisibility.

Takamatsu Sensei’s Daily Discipline

In a 1966 article published in 武道春秋 (Budo Shunju Magazine) titled Shinden Shura Roppō , Takamatsu Sensei shared his daily morning ritual:

  • He went to bed by 9 PM every night.
  • At 6:30 AM, he performed a cold water massage , a practice he maintained for 40 years without fail. This contributed to his remarkable health and resilience, ensuring he never fell ill.

As a Dai-Ajari head priest in Kumano Shugendo, Takamatsu Sensei likely incorporated prayer or meditation into his routine. The title of Dai-Ajari is reserved for those who complete extreme endurance feats, such as the Ōmine Sennichikaihōgyō (one-thousand days of trekking on Mt. Ōmine) and the Shimugyō (nine days without food, water, sleep, or rest).

Hatsumi Sōke once mentioned receiving the same Mikkyō rank as Takamatsu Sensei during training at the Honbu Dojo. While unclear if he attained the title “Dai Ajari,” this highlights their shared commitment to spiritual and physical mastery.

For Shimugyō, preparation is key. Practitioners must follow precise dietary guidelines months in advance to survive the nine-day fast. Adherence to these instructions ensures survival despite the body’s typical limitations.

Kuji Goshin Hō: A Ninja Morning Rituals Routine from 1812

The 九字護身法 (Kuji Goshin Hō) , documented by Gyochi in 1812, outlines a morning ritual performed immediately after waking:

  1. Wash your hands, face, and mouth with water to purify yourself.
  2. Face north and exhale forcefully to expel 濁気 (Dakuki), or unclean spirit.
  3. Turn to face east , open your mouth, and take three deep breaths to absorb fresh, clean energy.
  4. Clack your teeth together 36 times , matching the rhythm of your relaxed pulse. This helps the spirit descend into your body and calms the mind.

Kuji Hiden: An Ancient Practice Linked to Marishiten

Another morning routine, described in 九字秘傳 (Kuji Hiden) by 宮井安泰 (Miyai Yasutai) in 1787, traces its origins back to 太公望 (Taikōbō) “Grand Duke Wang” (also known as 姜子牙 Jiang Ziya, 1128–1015 BCE), who taught the fundamentals of Kuji to his students. This practice involves facing the rising sun and performing specific hand gestures while chanting incantations:

Face the first rays of sunrise (or the eastern ridge-line in the mountains, or the horizon in flatlands).

  1. Place your left palm on your chest and extend your right hand forward, palm down. Curl your fingers as if beckoning someone and chant RIN .
  2. Place your right hand above your heart and extend your left hand forward. Lower your left hand, curl your fingers, and chant HYŌ .
  3. Turn your palms forward at chest height and chant TŌ .
  4. Move your palms to the left and right sides and chant SHA .
  5. Close your hands into fists and press them to your chest while chanting KAI .
  6. Touch both shoulders with your fingers and chant JIN .
  7. Place both palms on your hips and chant RETSU .
  8. Put both palms on your knees and chant ZAI .
  9. Raise your palms to form 斗衝 (Dozu)—a triangle shape with your thumbs and index fingers—and chant ZEN .

The Role of Marishiten in Warrior Practices

摩利支天 (Marishiten) is a revered deity in Japanese warrior culture, symbolizing light, protection, and prosperity. Warriors practiced Marishiten-hō , invoking her/his power for:

  • Invisibility in battle : To evade enemies.
  • Victory and success : By illuminating their path and guiding them.
  • Wealth and good fortune : Beyond martial contexts.

Staring at the sunrise was a symbolic act of connecting with Marishiten’s radiant energy. This practice reflects the deep spiritual connection between warriors and celestial forces, emphasizing harmony with nature and divine empowerment.

The post 忍の朝の儀式: Ninja Morning Rituals appeared first on 武神館兜龍 Bujinkan Toryu.…

Gokui Training: Japan Report Two 令和6年

From Bujinkan Santa Monica by Michael


I began this day by catching a train to the Bujinkan Honbu Dojo for a class with Furuta Sensei. In the past few years I’ve been able to train with him quite a bit. And each class gives me a little more insight into the gokui of 雲隠流 Kumogakure Ryū and Ninjutsu.

Furuta Sensei began class using 乱勝 Ranshō as a springboard to explore many ideas. He would use a dramatic drop or lean in his body to evade and upset his opponent’s balance. He also shifts this way to hide within the opponent’s movement.

When he called me to be his uke, he blocked my attack, but the way he held his other hand gave me the impression that I could attack again. Then Furuta Sensei encouraged me to hit him. I said, “are you sure?” But this was intentional because he was baiting me. So when I went for it, I fell into the space as he hit me with an unseen strike.

He used this same feeling to access hidden weapons. If you’ve trained with Furuta, you know he always has a couple of knives on him. One moment I thought I had gotten away from him, then I felt a knife hit me in the foot. He had thrown it from a distance during my ukemi.

He had us do some mutō dori techniques, but he surprised us because as we did the evasion, Furuta Sensei attacked us with another sword from behind! Then he shared some gokui for dealing with multiple opponents and this live type of Godan test.

極意 Gokui Training

I went to 長全寺 Chōzenji to reflect on where I am at with my current training approach. I am not focused on basic fighting or combat, but rather on the level of gokui. This is how I expand my training to match the feeling I get from Hatsumi Sensei.

One might ask, 霊魂よ、そこにいますか。Because when a student is defeated in the dojo, or even worse, in combat, that moment is overwhelming. And they start to wonder what went wrong or why they failed. When the spirit is full of these doubts, it is very difficult to find the essence or the gokui.

What is the essence of defeat? A big lesson is to get back up and move forward. Perseverance is the gokui of life.

It is difficult to communicate to someone who is focused on technique, fighting, or winning the nature of this type of training. But if someone trains with me in person, they might feel it. Or maybe they can learn from some Japanese Shihan who are teaching this way.

Even though I am a still tired from training and travel, I went to Noguchi Sensei’s evening class. I drank some tea for a boost because his classes are energetic. He usually jams through a bunch of kata and henka.

When he first arrived at the Honbu dojo, someone asked him about his busy schedule last year with many taikai around the world. He commented that even though he enjoyed it, he was getting old and he would probably retire next year. I hope this was just a daydream on his part.

My friend László gave Noguchi Sensei a photo calendar with pictures from his mountaineering expeditions. Noguchi Sensei really admired these photos of snow covered peaks. I said to him, “when you retire you can take up mountain climbing.” He laughed and said he would rather stay home and drink beer.

Noguchi Sensei taught from the 初伝型 Shoden Gata level of 虎倒流骨法術 Kotō Ryū Koppōjutsu. He surprised me because he only made it through maybe half of them. But that didn’t mean the class was slow.

He emphasized taking a cross step during the strikes and evasions. Then he changed levels from 上段 Jōdan to 中段 Chūdan, and then 下段 Gedan. He also showed ura and omote with each kata.

Noguchi Sensei did grappling techniques against punching attacks, or the reverse. These are some of the ways he finds henka. But I think he makes this teaching choice to expose the gokui found in each kata. I’ve trained with him for many years so I can see some of his strategy for teaching and exploring taijutsu.

In one of the techniques he did on me, he took a unique angle in his evasion that caused my second punch to catch air. In that moment when I was off balance, I felt him attack my upper thigh. And that sent me sprawling.

My training partner said he didn’t see that strike. But I felt it hidden within the movement. It was as if the angle of evasion was a type of strike! I spent the rest of the class trying to understand that angle.

As I sit here writing my notes, I look forward to some sleep. But I am excited to see what tomorrow brings here in Japan. You can watch the video about my experience in Japan Report Three 令和6年 coming soon.

 …

高木折右衛門物実録 Legacy of Takagi Oriemon: Budō Shiraishi Ei Manuscripts and Takagiyōshin-ryū

From 武神館兜龍 Bujinkan Toryu by Toryu

Takagi Oriemon Shigenobu—a revered samurai of the Shiraishi domain during the Edo period and the co-founder of Takagiyōshin-ryū with his son—is immortalized through a fascinating series of manuscripts. These works, collectively referred to as Budō Shiraishi Ei (“Martial Tales of Shiraishi”), document his Musha Shugyō (warrior’s pilgrimage) and reveal an intricate web of historical, cultural, and martial growth. This article explores the development and variations of these manuscripts, uncovering how Takagi’s legacy, including the founding of Takagiyōshin-ryū, was shaped over centuries.

Overview of Budō Shiraishi Ei and Takagi Oriemon

The core narrative of Budō Shiraishi Ei revolves around Takagi’s adventures as he journeyed across Japan, honing his skills and imparting lessons. Initially penned by Mamiya Hyoemon—a retainer of the Katakura family who served as the lords of Shiraishi Castle—the manuscripts underwent numerous reproductions and expansions. Early texts focus on Takagi’s personal strength and moral character, while later versions elaborate on his philosophical teachings and broader socio-cultural themes. Takagi’s martial philosophy ultimately culminated in the founding of Takagiyōshin-ryū alongside his son, ensuring the continuity of his techniques and teachings.

Key Manuscript Variants of Budō Shiraishi Ei

Researchers have identified multiple manuscript versions, divided into two main categories: existing texts (kijutsu-bon) and newly discovered texts (shinshutsu-bon). The most notable versions include:

1. The Katakura Family Manuscript

  • Title: Budō Shiraishi Banashi
  • Format: 10 scrolls in 5 volumes
  • Key Features: The foundational text focusing on Takagi’s deeds as recounted by Mamiya Hyoemon.
  • Significance: Served as the basis for subsequent reproductions.

2. Ryukoku University Library Manuscript

  • Format: Single-volume edition
  • Copyist: Mizuno Katsuhide (associated with the Moonlight Pavilion)
  • Classification: Known as the “Hei Version” (Hei-bon).
  • Details: Features stylistic enhancements with minimal content variation.

3. Miyagi Prefectural Library Edition

  • Format: 15 scrolls in 3 volumes
  • Classification: “Otsu Version” (Otsu-bon).
  • Traits: Retains close fidelity to the Katakura family manuscript, with slight editorial refinements.

4. Newly Discovered Texts (Shinshutsu-bon)

These include significant additions to the original narrative, incorporating extensive character arcs and thematic developments:

  • Waseda University Manuscript: Features 30 volumes with front and back sections.
  • National Diet Library Version: Expanded to 45 scrolls, spanning three sections.
  • Sakata Mitsuo Library Manuscript: Comprises 50 scrolls and introduces supplemental material.

Themes and Content Evolution in Budō Shiraishi Ei

Takagi was extremely strong, he often used his strength to help people.

Takagi Oriemon Heroic Strength and Moral Integrity

The earliest versions of Budō Shiraishi Ei emphasize Takagi’s extraordinary physical prowess and his role as a compassionate leader. Stories such as lifting massive stones and assisting troubled villagers resonate with themes of chivalry and self-restraint.

Transmission of Samurai Values and the Roots of Takagiyōshin-ryū

Later texts delve into Takagi’s philosophical insights, including the teachings he passed down to his successors, such as the principle of humility embodied in the phrase “Takagi wa kaze ni taoru” (“The Takagi falls to the wind”). These teachings laid the foundation for Takagiyōshin-ryū, a martial art that emphasized adaptability, resilience, and moral discipline.

Takagi helping the 14 year old Yoshinosuke taking revenge on his fathers killer.

New Characters and Expanded Narratives

The shinshutsu-bon editions introduce dynamic subplots involving Takagi’s apprentices, like Toramatsu. These texts elevate his journey into a broader allegory for perseverance and the transmission of samurai ethics.

Research Insights into Budō Shiraishi Ei Manuscripts

Recent studies, such as those by Ogihara Daichi, provide a comparative framework for understanding the development of these manuscripts. While the kijutsu-bon editions prioritize historical fidelity, the shinshutsu-bon versions reflect the Edo period’s evolving literary tastes, incorporating dramatic embellishments to cater to a wider audience.

While resting at a Jinja in the village of Hata in Nobeoka (present day Miyagi) Takagi first meeting with Toranosuke carrying a stone to the Jinja 100 times every night to pray.

Conclusion: The Legacy of Takagi Oriemon and Takagiyōshin-ryū

The enduring appeal of Budō Shiraishi Ei lies in its dual identity: a historical record and a literary masterpiece. From the Katakura family’s archives to the expansive adaptations of the shinshutsu-bon, these manuscripts offer a window into the life of Takagi Oriemon Shigenobu and the cultural zeitgeist of Edo-period Japan. Moreover, the founding of Takagiyōshin-ryū alongside his son ensured that Takagi’s martial legacy would thrive for generations.

By tracing the evolution of these texts, we not only preserve the legacy of a remarkable samurai but also enrich our understanding of Japanese martial history and storytelling traditions.

Explore the fascinating history of Takagi Oriemon Shigenobu and the origins of Takagiyōshin-ryū by delving into the archives of Budō Shiraishi Ei. Each manuscript version provides a unique lens on this iconic figure’s life and the spirit of the times.

Eric Shahan’s translation is noted for its clarity and dedication to preserving the original intent of the manuscript. Readers appreciate the detailed explanations and the cultural context provided, which make the historical content accessible to modern audiences. The memoir offers valuable perspectives for martial artists, historians, and enthusiasts of Japanese culture, shedding light on traditional practices and the evolution of martial arts in Japan.

Overall, the book serves as a significant resource for those interested in the depth and history of Japanese martial traditions.

The post 高木折右衛門物実録 Legacy of Takagi Oriemon: Budō Shiraishi Ei Manuscripts and Takagiyōshin-ryū appeared first on 武神館兜龍 Bujinkan Toryu.…

Hidden Influence: Japan Report One 令和6年

From Bujinkan Santa Monica by Michael


I’m off to Japan again. Every trip has a hidden influence so it feels fresh for me. I get excited leading up and preparing for travel. I get excited in the airports, on the planes, and on the trains. I always make big plans to do things in Japan, to visit places, to learn from specific teachers, to meet with friends I haven’t seen in a long time… But when I get there, Japan has other ideas for me.

The reality on the ground decides for me. I let Japan decide what I will be doing on that day, or on that trip. Then each trip becomes a unique experience in itself.

During one class with Hatsumi Sensei, he spoke of 幽玄の世界 Yūgen no sekai. He said it was like purposely taking a picture that was out of focus. He said you don’t want the focus to be too sharp. Instead you feel it with your eyes, your skin, and your heart.

I drive my curiosity just by noticing things. I try to notice the little details the country and the culture. I record things, I take notes in the dojo. This allows me to share with people who are interested. I’m very lucky to have been to Japan so many times. I know that not everyone can travel like this. So this is an experience I cherish.

隱身威光: Hidden Influence

After I arrived, I decided it might be nice to find some inspiration in Soke’s art. I know a place that has a sample copy of Dojo Giga that I could read. When I cracked open the book, my eyes fell on a painting with the title of 隱身威光: Hidden Influence.

The painting is very vibrant and has two figures, 天照大御神 Amaterasu Ōmikami and her brother 須佐之男命 Susano’o no Mikoto. It appears to be a scene from 天の岩戸 Ama-no-Iwato, in which Susano’o misbehaved and drove his sister into hiding in the cave. Since she is basically the Sun goddess, this plunged the whole world into darkness.

No matter how much Amaterasu defended her brother, he continued to misbehave and treated her badly. She became depressed and withdrew into a cave, removing her divine light from the world. Disappearing into the cave is symbolic of a type of death and depression. People who are depressed often withdraw into a cave of their own making.

As the story goes, the world was in darkness. Nothing would grow so starvation and famine spread. Various demons took advantage and rose up to plague humanity.

All of the other Kami became desperate to get her light back out into the world. No matter how much they pleaded with her, she would not come out. They even tricked roosters to crow as if the sun was rising. None of it worked.

They hatched a plan to make her jealous. They constructed a bronze mirror (one of the three treasures of Japan) and threw a big party outside the cave. The Shintō party goddess, 天宇受賣命 Ama no Uzume no Mikoto, began a wild dance outside the cave that was part comedy, part strip tease.

This amused all of the Kami so much that they grew festive and cheered loudly. Amaterasu heard all of this revelry and decided to peek out of the cave to see what had everyone so excited. Through this small opening, her light flashed out and caught the mirror.

She asked them why they were celebrating and they told her that there was a Kami greater than her outside the cave. She had to see this so she came out and her gaze caught her own reflection in the mirror. The other Kami quickly shut the cave behind her and sealed it with a Shimenawa.

In Japan, you find Shimenawa at shrines and even in the dojo. These ropes delineate a sacred space from the everyday world. So when you pass that threshold it is a type of rebirth into your sacred self. That is a nice cure for depression!

The kanji Hatsumi Sensei wrote on the painting are translated as “hidden influence.” But 隱身 kakurimi means you’re hiding yourself or become invisible. And 威光 ikō is a very intense and powerful light that is transcendent.

So you might hide or disappear within this divine light. Our training is hidden like this. This is why people with dark agendas or personalities can’t find the essence of our training. Even when they come to our dojo.

Hatsumi Sensei’s painting is asking us questions. The answers come in many layers. I’m glad I started my trip viewing this painting so it can be a “hidden influence” over my training.

Class with Nagato Sensei

After my art reverie, I went to Nagato Sensei’s class where I was immediately charged with the sign in sheet and taking money. Luckily the class was small, maybe only 15 people. Helping them sign in allowed me to say hello to each one.

Nagato Sensei had a “volunteer” demonstrate to open class. This person did a very elaborate technique that included 3 spins. I guess it was nice that his uke waited patiently for the wrist lock.

But Nagato Sensei used this wild use of space to explore. He did many pass throughs and hand offs of the locked wrist. All the while pressuring with his elbows or using his legs to stop or lock up the opponent so they were trapped.

Nagato Sensei’s footwork is quite refined. He used a lot of cross steps to lock up the opponent or even sweep their feet out from under them. His legs kept the opponent frozen in space. This even included submissions like a dō jime.

Class with Paul Masse

After that class I took a small break for lunch and went back to the dojo for the next class with Paul Masse. Paul is a friend so training with him feels like sharing. He often asks for my input in class or for me to share what I remember from training with Hatsumi Sensei.

And the great thing is, my memories will trigger a waterfall of Paul’s own training memories with Soke over the last 30 plus years here in Japan. He started off class very advanced with a subtle use of 刀匿 tōtoku. But he quickly realized he needed to simplify for the small group that was at the Honbu dojo. He changed to a grab and punch defense.

But, I kept pushing for the more advanced material. So he began to use 虚実 kyojitsu to access hidden weapons. At one point he let the attacker drop, who then seemed to just fall into position.

Paul told us that Hatsumi Sensei called this 回経つ外力 Kaitatsu Gairyoku. This is kind of a mechanical effect such as using gravity to unbalance. But it has larger implications because you are inviting the powers of nature to assist you.

Gravity is the most obvious force in the dojo. But we are surrounded by many natural forces at all times. Which of these can be your “hidden influence” to help you prevail in a fight?

Powers of nature don’t have to be invited, they’ll just show up. Kind of like how I just show up in Japan. If you’d like to learn more about my trip please look for Japan Report Two 令和6年 coming soon.
…

The Holland Taikai 1996: A Historic Bujinkan Seminar

From 武神館兜龍 Bujinkan Toryu by Toryu

In May 1996, the serene coastal town of Noordwijkerhout in the Netherlands became the epicenter of a martial arts milestone: the Holland Taikai 1996. Over three days, martial artists from across the globe gathered to train under the legendary Masaaki Hatsumi, the 34th Sōke of the Togakure-ryū and founder of the Bujinkan organization. Organized by Mariette van der Vliet, the seminar’s theme was Kukishin-ryū Kenjutsu, the art of the sword. This event was not just about techniques—it was a celebration of adaptability, survival, and the spirit of Budō.

Setting the Stage: A Journey to Mastery

The Holland Taikai 1996, Kiriage

The preparation for the Holland Taikai 1996 began long before Hatsumi Sensei arrived in the Netherlands. His teaching philosophy for the year centered on Kukishin Biken Jutsu, an intricate and profound swordsmanship tradition. In April 1996, a few weeks prior to the Taikai, Hatsumi Sensei conducted an impromptu outdoor training session in Noda, Japan. He called on a select group of students, including Arnaud Cousergue, to train in the dirt outside his home.

During this session, Hatsumi Sensei emphasized the essence of Nuki Gatana (sword drawing) and the principle that form should never restrict function. He famously said:

“When things get real, do whatever you have to stay alive. Ninpō is only about surviving. Form doesn’t matter. Everything is possible.”

This philosophy would become a cornerstone of the teachings during the Holland Taikai.

The Holland Taikai: A Three-Day Immersion

The Holland Taikai 1996, Iainuki

From May 16 to 18, 1996, Noordwijkerhout witnessed an influx of martial artists eager to learn. Hatsumi Sensei’s sessions were renowned not only for their technical depth but also for the atmosphere of camaraderie and discovery they fostered.

Day One: The Sword’s Edge

The seminar began with a focus on the foundational techniques of Kukishin-ryū Kenjutsu. Participants practiced precise Nuki Gatana movements, emphasizing timing, positioning, and adaptability. Hatsumi Sensei encouraged students to transcend rigid forms and embrace creative application.

He explained:

“Respecting the Waza as a beginner is mandatory. But as you grow, rules are made to be broken. Adjust, adapt, and survive.”

Day Two: The Dimensions of Training

The Holland Taikai 1996, Iai Jodan

Building on the first day’s principles, Hatsumi Sensei introduced the concept of three dimensions in Budō training:

  1. Nijigen no Sekai (Two-dimensional world): Techniques practiced in a linear or planar fashion.
  2. Sanjigen no Sekai (Three-dimensional world): Expanding movements to include lateral shifts and spatial awareness.
  3. Yūgen no Sekai (Invisible dimension): The psychological and intuitive aspects of combat, where movements transcend physical limitations.

Through these teachings, students began to see Kukishin Biken Jutsu as more than a martial art—it was a system of infinite possibilities.

Day Three: The Invisible Path

The Holland Taikai 1996

The final day highlighted the philosophical aspects of Budō. Hatsumi Sensei shared insights into Tama, the sphere, a central concept in Japanese martial arts representing the integration of all dimensions into a cohesive whole.

Participants left with a deeper understanding that martial arts are not confined to physical techniques but are a lifelong pursuit of balance and adaptability.

Cultural Immersion and Reflection

Hatsumi Sensei’s visit to the Netherlands extended beyond the dojo. His observations during the trip added a unique cultural dimension to the event. He reflected on the country’s maritime history, symbolized by the “Tower of Tears,” where sailors’ loved ones bid them farewell. He also remarked on the Dutch people’s prowess in sports like judo and cycling, noting the nation’s emphasis on leg strength and endurance.

In an article written after the event, Hatsumi Sensei shared:

“The Netherlands is a country of Judo, isn’t it? There is a wonderful Judoka, Mr. Heesing, who speaks passionately about Judo. The mystery of Judo lies in how a smaller person can overcome a larger one—a concept deeply rooted in respect and essence.”

Key Takeaways from the Holland Taikai

  1. Adaptability is Survival
    Hatsumi Sensei’s teachings emphasized that martial arts are not rigid but fluid. In real-life scenarios, survival depends on one’s ability to adapt and innovate beyond traditional forms.
  2. Understanding Dimensions in Training
    The progression from two-dimensional to invisible dimensions in Kukishin-ryū Kenjutsu underlined the importance of mastering fundamentals before exploring creative freedom.
  3. Cultural Exchange
    The Taikai was not only a martial arts seminar but also a bridge between Japanese and Dutch cultures, enriching participants’ perspectives on life and combat.

A Legacy That Lives On

The Holland Taikai 1996 remains a pivotal moment in the history of the Bujinkan. It demonstrated the universal appeal of Budō and its ability to transcend cultural and geographical boundaries. Hatsumi Sensei’s teachings during the seminar continue to inspire martial artists to this day, reminding them that:

“Everything is always possible.”

This philosophy, rooted in the principles of survival and adaptability, is as relevant now as it was during the Taikai.

The post The Holland Taikai 1996: A Historic Bujinkan Seminar appeared first on 武神館兜龍 Bujinkan Toryu.…

Japan Report Eleven 令和5年

From Bujinkan Santa Monica by Michael

下谷神社 Shitaya Jinja, photo by Michael Glenn

I got up early to catch the train into Tokyo. I headed to 下谷神社 Shitaya Jinja to fill in my 集印帳 shūin-chō stamp book. But I also wanted to purchase some 御守 Omamori as gifts for my students back home.

2024 is the year of the dragon and Shitaya Jinja has a bit of a dragon theme. You might remember on a previous visit I was very lucky to be invited to enter the 拝殿 haiden. There, on the ceiling, is a painting of a dragon by 横山 大観 Yokoyama Taikan that was commissioned by the parishioners. I thought my students would appreciate omamori with a dragon motif.

After my visit to Shitaya Jinja, I had another train ride all the way back out to Noda-shi, and the Bujinkan Honbu Dojo. The first class was with Noguchi Sensei, and I was definitely ready to hear his laugh. I heard him as soon as I opened the door of the dojo. I was the second student to arrive and Noguchi gave me a cheerful welcome before I even stepped over the threshold. We had a great class which I will review in a minute.

First, I had to go pack and catch a train to Haneda airport. The commute was crazy busy, with the windows all steamed up, and the cars swaying with the weight of our bodies smashed together. A young man next to me used his finger to make drawings in the window condensation.

At the airport I had a little time to kill before my flight. And I like to walk a lot before my 12 hour flight across the Pacific ocean. As I strolled around Haneda, I discovered they had installed a scale replica of 日本橋 Nihonbashi.

The bridge is made of Japanese Cypress and has many wonderful details you can study as you cross or walk underneath. From their description, “The wall is decorated with Edo period folding screens from the National Museum of Japanese History that depict various famous locations throughout Edo… This pair of screens is one of only few historical artifacts that depict scenes from the time that Edo was founded. “

Since I still had time before my flight, I reviewed my notes from Noguchi Sensei’s class. He trained on the 天之型 ten no gata section from 神傳不動流 Shinden Fudō Ryū and he embraced the idea of sudden change. If you’ve trained with him, you know he moves fast. He covered all of the kata from the section along with a bunch of his own henka.

As he began with 日撃 Nichi Geki he explored different levels. The normal, chudan level might use a strike to 七抜 shichibatsu to stop the opponent’s throw. But he also showed variations for the jodan and gedan levels. He told us to make sure everything you do is a kamae.

月肝 Gekkan was all about the rhythm. Noguchi Sensei interrupted the opponent’s attack with his kick, taking their rhythm away. That deft set up flowed into a take down.

When we got to 風靡 Fubi, he didn’t want to do the leaping 胴締 dōjime. Even though I know he is capable because I saw him do it many times over the years. But since he is now in his eighties, He had some creative ways to express the kata without the risk of that move.

He kept telling us to “embrace our opponent with a loving feeling.” But his embrace attacked 腰 koshi. And it also disguised a 足起拳 sokki ken to 鈴 suzu. He said you crush them down.

During 雪耀 Setsuyaku he applied a 逆背負投 gyaku zeoi nage. But he did it almost without touching. He would set of the form of the lock and then drop the power out to send his opponent flying.

When he did it on me, what I felt was very surprising. The lock confused my body structure. Then as he dropped out, I went flying even though it didn’t feel like he did anything. This gave me some ideas to work on when I return home.

 With many of the techniques, but 霧散 Musan in particular, Noguchi Sensei would do the opposite of what you expect. The kata might say to take one side, but he would take the other. He would take one arm up, and one down. If you only take one, the opponent will sense what you are up to and try to counter.

Noguchi Sensei called one of his throws a 俵投げ tawara nage. This is like throwing a big bale of rice. He told us that one of the 47 Ronin was famous for doing this kind of throw.

You hoist them up and heave them over. For any normal person, it takes a lot of vigor to do a throw like this. But Noguchi Sensei did it without any force or power.

I really enjoyed Noguchi’s energy and good humor. He finished by rocking his uke with a 骨法拳 koppō ken where he swung the entire arm like a baseball bat. He laughed and said that he was like the baseball player, Shohei Ohtani.  

As I strolled around Haneda, I found an installation of 絵馬 Ema. An entire wall strung with these prayer plaques. You can purchase your own plaque and write a wish or prayer on the back to add it to the wall. The described purpose of the installation is to help heal travelers from Covid. The Japan tourism business was hit hard when they closed their borders for almost 3 years.

I had a great trip with many adventures and training discoveries. But every time I leave Japan I start making plans to return. You can expect more Japan Reports from me soon.
…