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History of Ninjutsu: Ninja History

ToryuJune 2, 2025

From 武神館兜龍 Bujinkan Toryu by Toryu

History of Ninjutsu: Ninja History

Okuse Heishichiro
Heishichirō Okuse (1911-1997)

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.

Ninja History

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)

Ninja History - Yamabushi

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

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

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Bujinkan Ranks: The Circular Path of Mastery Through Three Triads

adminFebruary 26, 2025

From 武神館兜龍 Bujinkan Toryu by admin

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.…

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The Holland Taikai 1996: A Historic Bujinkan Seminar

Mats Hjelm "Bujinkan Toryu"November 27, 2024

From 武神館兜龍 Bujinkan Toryu by Mats Hjelm "Bujinkan 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.…

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Japan Report Ten 令和5年

MichaelOctober 21, 2024October 21, 2024

From Bujinkan Santa Monica by Michael

I got up early for a long train ride to 石神井城跡 Shakujiijō ato. I wanted to investigate the ruins of Shakujii castle. This also gave me some time for reflection on my training here in Japan and to add more detail to my training notes.

My view on train ride to 石神井城跡 Shakujiijō ato, photo by Michael Glenn

Last night in Furuta Sensei’s class we were training in the old middle school gymnasium. He warmed us up with a bunch of ukemi practice. I was doing ok until he went into the standing forward breakfalls. For some reason after about ten of these, fatigue got the best of me. Maybe all of the classes are catching up to me.

After that he went into basic 捕手基本型 Torite Kihon Gata. We did 表逆 Omote Gyaku and 裏逆 Ura Gyaku. He had a particular focus on the line of entry to affect balance.

Furuta Sensei evolved the technique from there to do 輦輿 Ren’yo. He kept saying 斯う入る kō hairu, or enter like this. He really emphasized the 雲隠流 Kumogakure Ryū way of entering to set up the technique.

Next he showed 橰 Kō or 撥釣瓶 Hanetsurube. Again, the focus was on the entry. With this in mind, he gave us detail for how to set up the gedan uke.

If you know these kata, you know that the ukemi is not easy. The uke must take care not to be slammed head first into the ground. Furuta Sensei asked us to demo at the end of class.

My training partner was Peter Crocoll. He demonstrated first and really put the pressure on. I went flying in an effort to protect myself with ukemi.

Then Furuta Sensei said I should do it on Peter with “extra spice.” I figured I could get a little revenge and I went in with an energetic timing. Peter hit the mat hard and did not get up.

The entire class came over to check on him. We helped him off to the side of the dojo so he could recover. I felt bad but Peter said that he had brought it on himself by doing the technique so hard on me.

Peter has an old neck injury. He said when I slammed him down it created a kind of whiplash effect. Luckily, after a short rest he said that he felt better.

I’ve noticed that injuries often occur during demonstrations. When students are put on the spot and have an audience, their adrenaline goes up and they try to show their technique. This means that they might rush or do the technique harder or in a more realistic manner. We all need to be careful with demonstrations because I have witnessed many awful injuries and broken bones during these moments.

When I arrived at the site of the old Shakujii castle, the beauty of nature was there to greet me. The Fall colors, along with many herons, ducks and crows were reflected in the waters of 三宝寺池 Sanpōji-ike. This atmosphere caused me to reflect on some lessons from nature taught to us by Hatsumi Sensei.

I sat next to the lake to enjoy the view and to eat some メロンパン melonpan. Shakujii castle was property of the 豊島氏 Toshima Shi, from Kamakura period until it was detroyed in battle in 1477, during the Muromachi era. The only obvious ruins are some ramparts and remnants of a moat.

During one Daikomyosai with Hatsumi Sensei, we trained outside under the Japanese maples. He made the sign of 天略宇宙合掌 Ten Ryaku Uchū Gasshō with his hands. He told us that when you are out in nature you must know 自然の方程式 Shizen no hōteishiki.  

Shizen no hōteishiki are the equations that describe nature and natural phenomena. The forces of nature can be described in equations. And if we know these we can have power over nature. But Soke did not mean this in a purely mechanistic approach.

If you remember studying with Hatsumi Sensei, his classes were full of laughter and good humor. He even told us that laughter is a form of self defense. We should enjoy our study of budō.  

If you are full of negative emotions and anger, you may make yourself sick. But those negative emotions may also make you respond poorly in emergency situations. A lot of laughter and a good sense of humor in your training will be the best type of self defense.

I watched some crows mobbing the ducks and herons. They engaged in a pitched, aerial battle across the lake. It reminded me of something Hatsumi Sensei told us about facing multiple opponents.  

He said that part of 遁形の術 Tongyō no jutsu and being able to escape is to locate the weak point. Soke said that you should engage that which is not engaging you. Maybe one attacker is holding back or less eager to fight then the others. If you engage with that weak point, you might be able to escape.

Even with everyday life problems, when you find yourself facing obstacles, move in a direction where the obstacle is not present. The weak point to escape your trouble is not found while banging your head against the wall. Disentangle from the trouble by engaging with life from a different angle.

During that same lesson, Hatsumi Sensei explained how to use 目潰 metsubushi for Tongyō. One tip that he gave was to know 風向き kazemuki, the direction of the wind. If you are facing a headwind, you can use that against your enemies by throwing the metsubushi into the wind. He said you throw it up and run under, so the metsubushi comes down to hit the people chasing you. This is how you engage opponents in a direction they don’t expect.

I’ve got a few more days left for this Japan training visit. I plan to study well and train hard. Watch for Japan Report Eleven令和5年 up next at Rojodojo.
…

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Japan Report Ten 令和5年

MichaelOctober 21, 2024October 21, 2024

From Bujinkan Santa Monica by Michael

I got up early for a long train ride to 石神井城跡 Shakujiijō ato. I wanted to investigate the ruins of Shakujii castle. This also gave me some time for reflection on my training here in Japan and to add more detail to my training notes.

My view on train ride to 石神井城跡 Shakujiijō ato, photo by Michael Glenn

Last night in Furuta Sensei’s class we were training in the old middle school gymnasium. He warmed us up with a bunch of ukemi practice. I was doing ok until he went into the standing forward breakfalls. For some reason after about ten of these, fatigue got the best of me. Maybe all of the classes are catching up to me.

After that he went into basic 捕手基本型 Torite Kihon Gata. We did 表逆 Omote Gyaku and 裏逆 Ura Gyaku. He had a particular focus on the line of entry to affect balance.

Furuta Sensei evolved the technique from there to do 輦輿 Ren’yo. He kept saying 斯う入る kō hairu, or enter like this. He really emphasized the 雲隠流 Kumogakure Ryū way of entering to set up the technique.

Next he showed 橰 Kō or 撥釣瓶 Hanetsurube. Again, the focus was on the entry. With this in mind, he gave us detail for how to set up the gedan uke.

If you know these kata, you know that the ukemi is not easy. The uke must take care not to be slammed head first into the ground. Furuta Sensei asked us to demo at the end of class.

My training partner was Peter Crocoll. He demonstrated first and really put the pressure on. I went flying in an effort to protect myself with ukemi.

Then Furuta Sensei said I should do it on Peter with “extra spice.” I figured I could get a little revenge and I went in with an energetic timing. Peter hit the mat hard and did not get up.

The entire class came over to check on him. We helped him off to the side of the dojo so he could recover. I felt bad but Peter said that he had brought it on himself by doing the technique so hard on me.

Peter has an old neck injury. He said when I slammed him down it created a kind of whiplash effect. Luckily, after a short rest he said that he felt better.

I’ve noticed that injuries often occur during demonstrations. When students are put on the spot and have an audience, their adrenaline goes up and they try to show their technique. This means that they might rush or do the technique harder or in a more realistic manner. We all need to be careful with demonstrations because I have witnessed many awful injuries and broken bones during these moments.

When I arrived at the site of the old Shakujii castle, the beauty of nature was there to greet me. The Fall colors, along with many herons, ducks and crows were reflected in the waters of 三宝寺池 Sanpōji-ike. This atmosphere caused me to reflect on some lessons from nature taught to us by Hatsumi Sensei.

I sat next to the lake to enjoy the view and to eat some メロンパン melonpan. Shakujii castle was property of the 豊島氏 Toshima Shi, from Kamakura period until it was detroyed in battle in 1477, during the Muromachi era. The only obvious ruins are some ramparts and remnants of a moat.

During one Daikomyosai with Hatsumi Sensei, we trained outside under the Japanese maples. He made the sign of 天略宇宙合掌 Ten Ryaku Uchū Gasshō with his hands. He told us that when you are out in nature you must know 自然の方程式 Shizen no hōteishiki.  

Shizen no hōteishiki are the equations that describe nature and natural phenomena. The forces of nature can be described in equations. And if we know these we can have power over nature. But Soke did not mean this in a purely mechanistic approach.

If you remember studying with Hatsumi Sensei, his classes were full of laughter and good humor. He even told us that laughter is a form of self defense. We should enjoy our study of budō.  

If you are full of negative emotions and anger, you may make yourself sick. But those negative emotions may also make you respond poorly in emergency situations. A lot of laughter and a good sense of humor in your training will be the best type of self defense.

I watched some crows mobbing the ducks and herons. They engaged in a pitched, aerial battle across the lake. It reminded me of something Hatsumi Sensei told us about facing multiple opponents.  

He said that part of 遁形の術 Tongyō no jutsu and being able to escape is to locate the weak point. Soke said that you should engage that which is not engaging you. Maybe one attacker is holding back or less eager to fight then the others. If you engage with that weak point, you might be able to escape.

Even with everyday life problems, when you find yourself facing obstacles, move in a direction where the obstacle is not present. The weak point to escape your trouble is not found while banging your head against the wall. Disentangle from the trouble by engaging with life from a different angle.

During that same lesson, Hatsumi Sensei explained how to use 目潰 metsubushi for Tongyō. One tip that he gave was to know 風向き kazemuki, the direction of the wind. If you are facing a headwind, you can use that against your enemies by throwing the metsubushi into the wind. He said you throw it up and run under, so the metsubushi comes down to hit the people chasing you. This is how you engage opponents in a direction they don’t expect.

I’ve got a few more days left for this Japan training visit. I plan to study well and train hard. Watch for Japan Report Eleven令和5年 up next at Rojodojo.
…

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