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History of Ninjutsu: Three Last Ninja

From 武神館兜龍 Bujinkan Toryu by Toryu

History of Ninjutsu: Three Last Ninja

Three Last Ninja Excerpts from the book Ninpō Chōjin no Sekai by Ōhira Yōsuke.

戸隠流 Togakure-ryū 三十三代 33rd Generation 高松寿嗣 Takamatsu Toshitsugu part 1. (Page 64)

Three Last Ninja

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.

戸隠流 Togakure-ryū 三十三代 33rd Generation 高松寿嗣 Takamatsu Toshitsugu part 2. (Page 85)

Three Last Ninja

Youth Era Called a Hermit or Heavenly Dog.

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.

甲賀流 Kōga-ryū 十四世 14th Generation 藤田西湖 Fujita Saiko part 1.
(Page 126)

Three Last Ninja

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.

甲賀流 Kōga-ryū 十四世 14th Generation 藤田西湖 Fujita Saiko part 2.
(Page 149)

Three Last Ninja

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.

戸隠流 Togakure-ryū 三十四代宗家 34th Soke 初見良昭 Hatsumi Yoshiaki Part 1. (Page 205)

Three Last Ninja

A Genius Recognizes a Genius

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.

戸隠流 Togakure-ryū 三十四代宗家 34th Soke 初見良昭 Hatsumi Yoshiaki Part 2. (Page 236)

Three Last Ninja

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

Japan Report Five 令和5年

From Bujinkan Santa Monica by Michael


Bujinkan training in Japan isn’t only about training. Sometimes it is about cultural experiences you might have there. And sometimes you might even find healing in the dojo!

I began this day in Japan with a visit to 美術刀剣松本 Bijutsu Tōken Matsumoto in 西葛西 Nishikasai with my teacher Peter Crocoll. He brought a tsuka from home to be refurbished with new 柄巻 tsukamaki and fittings. We had some nice tea while Peter and Matsumoto-san swapped stories about their experience at this year’s 大刀剣市 Dai Tōken Ichi sword show. While they chatted, I wandered the shop looking at all manner of swords and weapons for sale. By the time we left I was happy to still have my wallet!

This is a summary of the video I recorded in Japan which you can see here: Japan Report Five 令和5年

From there it was back to Noda-shi for training. On my way I shared a story from one of the classes I had with Hatsumi Sensei at the old Honbu dojo. Soke was teaching 無刀捕 mutōdori but reversed it to teach us a counter. In the video I demonstrate the grip change that he showed us. This grip is used for deception so your opponent cannot tell from which angle your sword will arrive. The cut appears to come straight down, but the grip change is hard to perceive for your opponent.

He told us when you cut, 相手の影成っている Aite no kage natte iru, you have to become the opponent’s shadow. Stick to him as his shadow. Mirror his position. Then, no matter how he tries to evade, he can’t escape his own shadow.

Hatsumi Sensei often shared small tips like this. These tips are the kind of thing you discover only by training with a teacher who has depth. I feel lucky to visit and train in Japan for these many years with Hatsumi Sensei.

Next, I arrived at the dojo for Noguchi Sensei’s class. He taught the 初伝型 Shoden Gata from 虎倒流 Kotō Ryū. After showing the basic form, he did many henka where he controlled the space by changing angles and levels.  

For example, with 押虚 Ōgyaku, after checking the opponent’s attempt to throw, he dropped to attack the knee or even the foot. During the kata 捕捉 Hosoku, he slid down the leg from 声 koe to the knee or ankle. I was training with Wakana and she is a lot smaller than me, so I really struggled to get low enough. And she had to stretch to get up high!

We had a lot of fun and Noguchi Sensei came over to help us often. He asked us if we had seen the viral 刺股 sasumata incident that had happened in Tokyo. Three men on scooters showed up to a jewelry store for a smash and grab robbery with hammers. An employee of the store grabbed a sasumata and started thrashing them with it. He even beat the hell out of the scooters! We had a great laugh with Noguchi Sensei about this.

Later that evening, I ran into a friend and asked him how he was. He had tears in his eyes and was really down. He had received some bad news from back home. I don’t want to give details because it is private. But during our conversation I suggested to him that if he went to class it could help and he might find healing in the dojo.

Anyone who has trained a long time can tell you that Bujinkan training can be like a form of therapy. Many times in my life when I struggled with emotional or physical problems, going to the dojo lifted my spirits. It seems odd that getting beat up has healing properties!

A long time ago during a class at Ayase, Hatsumi Sensei said that training is like 武道の鍼灸術 budō no shinkyū-jutsu. This is the budō of acupuncture. The idea was that just because you are causing pain doesn’t mean you are causing injury. He told us this as he attacked kyūsho. Then he said it was a form of healing.

Soke said that this is what 天津 蹈鞴 Amatsu Tatara is all about. You might use pain to promote healing. People show up to the dojo with all kinds of problems in life, both physical and mental. But through training they start to feel better. I thought about my friend and the pain he was in. And I hoped that through the pain, he might find healing in the dojo. 
…

Japan Report Four 令和5年

From Bujinkan Santa Monica by Michael


I start off my Japan Report Four video going to Hatsumi Sensei’s house and the Bujinkan Honbu office. I do this on every trip because this is how I submit my rank paperwork for my students. In the video I talk about my “secret” route to his house. I also recall past times when I could just visit and have tea with Soke.

During my walk to his house, I review some of my notes from old classes with Soke. During one class he said 自分の第六感兼ねあいうち Jibun no dairokkan kane aiuchi. This is when you make your intuition match reality. Or, more directly, your intuition is combined with something concrete such as a strike.

Later in that same class, Hatsumi Sensei said 意識をさせない Ishiki o Sasenai. He was telling us not to allow our opponents to sense our intentions. Don’t put out any intention for your opponent to read. I thought it was fascinating to think about dairokkan and the use of intuition while also hiding your intentions. Hatsumi Sensei’s classes were full of subtle lessons like this.

Next, I went to an afternoon class with Nagato Sensei. People sometimes ask me why I haven’t gone to Nagato Sensei’s seminars here in the U.S. Well the answer is simple, I save my money for Japan. For example, Nagato Sensei did a seminar in Ohio. For me to buy round trip airfare from Los Angeles, book a hotel, and pay the Tai Kai fee, the cost is almost the same as one of my Japan trips. I’d rather spend two weeks training in Japan than two or three days in Ohio.

It was nice to train with Nagato Sensei. He had just returned from a Tai Kai in Finland. And he spoke fondly of his trip there.

He started the class like normal by asking someone to demo a technique. Someone showed something that looked like 霧散 Musan. Then Nagato Sensei did henka based on that.

He did a lot of transitions from one punch to another and pass throughs using his elbows. It is easy to be distracted by his hand movements. But he always sets up each technique with perfect distance and good use of his feet.

The class was full like in the days before the pandemic. My training partner was from Germany. At the end another guy from Germany took and passed his Godan test.

Later that evening, I meet up with some skater friends. They were skating “illegally” in a parking structure. I got my camera out and filmed their kick flips along with their ゴン攻め gon zeme spirit. Until a security guard made us move out into the street in front of the デイリーヤマザキ Daily Yamazaki.

 …

Japan Report Three 令和5年

From Bujinkan Santa Monica by Michael


Last night Paul Masse invited me and my teacher Peter over to his house in Noda-shi. While we were in the backyard swapping stories, his wife Tomoe invited us inside to a warm dinner of ちゃんこ鍋 chankonabe. She and Paul are very friendly and generous.

Paul asked Peter what he found at the antique weapons market. Peter said that he was looking for 矢の根 yanone, which are arrowheads. He also said he bought a tsuba with a giant centipede on it.

Paul was curious about this so Peter told us the story behind it. He told us 俵藤太物語 Tawara Tōda monogatari, the legend of Tawara Tōda. I share my version of the story on the video so if you'd like to watch the full video report, you can find it here: https://www.rojodojo.com/japan-report-three-reiwa5/ . But the short of it is that Tawara Tōda killed a giant centipede with a well aimed arrow.

We had a wonderful time over dinner while swapping stories. Paul’s young boys were full of energy and were running around like crazy people. Danzo thought it was funny to steal the knit cap off of my head and run away with it. Well, he also had a runny nose. So without thinking, he blew his nose into my cap! I decided I wasn’t putting that back on my head.

The next day it was raining, so we began our morning at 東京国立博物館 Tōkyō Kokuritsu Hakubutsukan which is the oldest and largest national museum. The museum holds a wonderful collection of Japanese art and archeological artifacts. Many are designated as national treasures.  

The exhibitions range all the way from 30,000 year old paleolithic tools, to Jōmon pottery from 3000 BC. Buddhist artwork and sculpture are represented, along with a collection of indigenous Ainu craft works. The museum also holds swords, armor and a variety of weapons.

I paid special attention to the arrows on this visit. I also discovered a 腰刀 koshigatana which was new to me. I thought it was a tantō at first but it doesn’t have a tsuba and apparently is worn differently. I spent a couple of hours in the museum taking notes and pictures. Even though I have been here so many times, I wanted to stay longer. But I had to run to catch a train.

But I was delayed by a side quest because I stumbled upon a Ninja festival! They called it Ninja City and it was a gathering of crafts and farmers from the Iga region who were promoting tourism with the Ninja hype. They had activities for children throwing shuriken and I even faced off with a Ninja wielding a giant daikon radish as a weapon! You never know what you will find in Japan. A surprise around every corner.

I would have stayed to fight, but I had to run through the rain to fetch my training gear out of the locker in the train station. Then I had a long ride out to Yokohama. Paul Masse invited me to his dojo and asked me to share with his students some things I remembered from Hatsumi Sensei.

Of course I was happy to help, but I go to Japan to train, not to teach. So when Paul bowed in and started the class with ukemi warmups, I was ready to roll. Then after the warmup, he asked me demonstrate something. So I did a weapon retention technique with the attacker using 両手捕り ryōte dori to control my knife.

Paul then used my technique to explore his own ideas and henka. The class moved fast and was a lot of fun. Everyone was very friendly and the spirit of the class was much like Hatsumi Sensei’s classes.

Afterwards, I rode the train with Paul back to Kashiwa. That became its own adventure. Paul sprinted during every station transfer. I already had a long day and was carrying a heavy backpack so I struggled to keep up. I found out later that he was in a hurry because his children had a bedtime and he wanted to see them before they went to sleep. The train ride is almost 1.5 hours from his dojo to where he lives in Noda-shi.

I am having a wonderful trip. Paul Masse’s friendship and generosity have enriched my training and today was full of great moments. I will share more in my Japan Report Four 令和5年 coming soon!
…

How to Practice the Fake Kick of 指拍 Shihaku

From Bujinkan Santa Monica by Michael

How to Practice the Fake Kick of 指拍 Shihaku
Real or fake kick?
The other night in my dojo we were practicing fake kicks during the kata 指拍 Shihaku. It is a challenge to practice a fake kick. Here I will give you a method to make your fakes seem real.

How do you trick someone into believing something that isn’t real? You act as if it is real. Or even better, make it real.

This is how I often explain kyojitsu to my students. 虚 kyo means fake, and 実 jitsu means reality. For kyojitsu to work it has to be both real and fake at the same time.

Shihaku has a kick that is kyojitsu. But remember kyojitsu only works if it can be either 虚 kyo or 実 jitsu. Too many people only practice the kyo part of kyojitsu. 

Their fake fails because no one would fall for it. So it must be real. Just not necessarily delivered.

This means that if the opponent doesn’t react to your fake, then make it real. And you kick him hard! If he’s not buying what you’re selling, then kick his ass with it.

So when does does the fake become real? Where does that change occur? Hatsumi Sensei demonstrated this on me when he called it 虚実皮膜 kyojitsu himaku.

The way I learned this kick from Hatsumi Sensei was quite interesting. He took it to that in between place of kyojitsu by making the kick 探り saguri geri. Here The kick becomes more of a searching, feeling out, or testing the waters.

But Soke is really probing the opponent’s state of mind. Will he fall for it? Think of a calm mind like the surface of a quiet lake. Then look for the ripples caused by your (fake) kick.

It is like dipping your toe into a pool to see if the water is cold. Is that a kick? The water surface may be broken and disturbed. Our opponent's kamae is also broken and disturbed this way by saguri geri.

I love this in practice because I can often make my opponents fall over without even hitting them. It is because I am striking their mind and spirit. If that fails for some reason, I have the backup of a real kick to the balls and a punch to the gut. I am happy with either outcome!

If you want more of these training tips from me, then please join my newsletter here: Rojodojo
…

空打ち Karauchi: Striking Emptiness

From Bujinkan Santa Monica by Michael

Michael Glenn Strikes Emptiness

Last night in my class one student said, “This is pretty basic.” I did a double take and said, “Really? You think so?” I told him that the kata was more advanced than it appeared.

We were studying 一文字 Ichimonji. This is a 無刀捕 mutōdori kata from 高木揚心流 Takagi Yoshin Ryū. And it does look simple. But mutōdori has so many levels.

One morning when Hatsumi Sensei taught this kata he said, 

You make him cut the air. This is mutōdori, like he’s practicing by himself and striking emptiness.

The question I posed to my students last night was, “How?” How do you get your opponent, ostensibly a competent swordsman, to just cut the air and miss you completely?

As an answer, I gave them three insights into advanced mutōdori that I received from Soke. If you are interested, I share these kind of tips for anyone who joins my mailing list, which you can do here: eepurl.com/d0w_r

First, give the enemy what he wants. He is seeking violence and destruction. Let him have it.

Offer him a target. If you try to evade, then you always take away the target. He will then try to reacquire a target. But it may not be one that you are prepared to defend. Give him what he wants, then let him strike emptiness.

In another class I had with Hatsumi Sensei, he did a mutōdori against Oguri Sensei. Soke asked Oguri to describe the feeling. He said he couldn’t get any clear focus on the target for his cut. He said he felt his own kamae collapse.

In response, Hatsumi Sensei said that this is not the movement of sport martial arts. It is a level above that. For Ninjutsu, Soke told us that techniques become “透明 tōmei,” or transparent.

Transparent technique means you have something that cannot be seen or countered. I suggested that my students not plan or decide on a technique before executing it. If you don’t know what technique you will do, your opponent cannot know either. It is difficult for your opponent to counter a technique that doesn’t yet exist.

He will strike blindly at emptiness...  At transparency...  At a Ninja who cannot be seen.

I finished our class with a third suggestion for mutōdori. It is related to 扞技扼 kangiyaku, a kiai which can be verbalized or expressed silently. This kiai calls the opponent to cut.

Hatsumi Sensei did it while holding a kodachi. His opponent tried to cut, but then he collapsed. Soke didn’t even need to hit him. He said,

Give the opponent the feeling to cut. Draw him in. Then your movement will disappear. Disappear from the opponent's perception.

We make him cut emptiness. 

When we finished class, the student who thought the kata looked simple now had a big smile. I could see that he was inspired by these ideas that I shared from my own experience with Hatsumi Sensei. I hope he can carry this forward in his own training and share it with future generations.

…

Don’t Rattle Your 忍者刀 Ninjatō

From Bujinkan Santa Monica by Michael

Mt Fuji all the way from Kashiwa, photo by Michael Glenn
Hatsumi Sensei surprises me with his teaching. The night before I left for Japan, we studied 忍者刀 Ninjatō in my own dojo. Then, on Friday night in Soke’s class at the Bujinkan Honbu Dojo, he taught one of the secrets of this weapon.

I try to prepare for these lessons, yet I am still surprised. I suppose the only way is to always be ready. This is the ukemi of being Hatsumi Sensei’s student.

I landed at Narita Airport around 5pm local time. My normal plan is to run through immigration and customs as fast as Japanese bureaucracy will allow. Then catch a two hour train ride straight to Hatsumi Sensei’s class.

One hour into the train ride I began to lose my motivation. Warm trains make me sleepy. That, and the 20 hours of travel that wasn’t over yet.

I stood up to shake off the tired. It was already dark out, and the train cabin was reflected back to us in the window. I leaned my head against the door to watch the lights pass outside.

It looked wet and miserable out. I already felt the cold when I transferred at the last station. But when my eyes adjusted to the dark I couldn’t believe what I saw between the railroad ties. Patches of snow flashed by like a flickering reel of film!

It was only November. Snow in Tokyo is extremely rare this time of year. I already had two shirts on, and now I pulled a hoodie over those.

The old Atago station was dark and quiet. My breath fogged. A patch of snow crunched under my boot. During my walk to the dojo I wondered if class was cancelled.

I came around the corner and I could see the lights were on. I marveled at the snow on the rooftop. I slid open the door… Konbanwa!

A warm crowd inside and many old friends greeted me. I changed quickly into my gi. Was I ready? I don’t know, at least I was there.

Hatsumi Sensei taught at an intense pace. He started off class at the highest levels of training. It was all about letting go and 空間利用 kukan riyō, using the kukan.

The train passed by and shook the building.

"Hai, OK!" Soke called out. Then he started with the 忍者刀 Ninjatō and I paid close attention. Someya Sensei cut in at him...

Hatsumi Sensei was in 棟水之構 Tōsui no Kamae. He lifted his blade softly as if to shield against the katana. Someya tried to cut again. Soke let his sword slip and then smacked it into Someya’s neck without cutting.

He told us one of the themes this year was 一刀万方 Ittō Banpō, which is one sword, many possibilities. It may also be written 一刀万宝 Ittō Banpō which means one sword, many treasures.

There are many treasures in the study of the Ninja-tō.  Hatsumi Sensei wrote
忍者の剣は、闇夜の剣を避けがたし
This can be read many ways. One interpretation is that “the sword of the ninja doesn’t rattle in the dark of the night”. In other words, avoid rattling your sword.

What does that mean beyond being stealthy? Lucky for us Hatsumi Sensei has also shared this gokui in relation to the Ninja-to:
抜かず勝て、抜けば切るなよ、ただ忍べ、命をとるは大事とぞ知れ
Win without drawing the sword
if you draw it, don’t cut
Simply persevere
Know the significance
Of taking a life.
When Hatsumi Sensei smacked the blade against Someya’s neck he was demonstrating this principle. He even told us that night that we were all too quick to use the sword. He said that when we tried to use the sword, we missed the kyojitsu.

I hold onto these memories and lessons from Soke like treasures. During the first hour of my train ride (which you can watch part of here: Ninja True: How to get to the Bujinkan Honbu Dojo) I caught a glimpse of Mt Fuji in the distance. The slope of Fuji Sama seemed to hold the burnt sunset for every last bit of warmth.…

A Secret 九字 Kuji for Defeating 100 Enemies

From Bujinkan Santa Monica by Michael

Hidden Alcove at 戸定邸 Tojō-tei. photo by Michael Glenn
Within the 九法の力 Kyū-hō no chikara, or the power of the 9 methods, there is a kuji that holds the 秘技 higi or secret technique to overcoming a hundred enemies:

「護攻虚変争精神不動」GoKoKyoHenSeiShinFudo

This kuji, or gokui, repels any method of capture or defeat. You protect yourself by changing the attack itself with an immovable spirit. This is the time to do or die. You are prepared for death, but you’d rather do the enemy in.

How do you do instead of die? In that single moment of life and death you remain unmoved in the middle. That middle place is the key to ninjutsu.

On a very hot day in June, I learned about this. The air was loud with the harmonic drone of 蝉 semi (cicadas). But we were training anyway. Hatsumi Sensei told us to train in accordance with the temperature.

Two opponents attacked and Soke slipped behind the first attacker. He did this while trapping the second guy in his own attack. Then Hatsumi asked the uke to give his impression of what just happened. The confused student described his inability to get a fix on Hatsumi Sensei as a target.

Soke replied that this is not the movement of sports or the “so called” martial arts. This is something far above that.  This is true ninjutsu. Make your techniques transparent. Make them see through.

Hatsumi Sensei told us not to just punch on the surface, but to strike through the body. He said when your arm goes through their spine it makes the sign of the cross.

Soke gave us a warning
「九字を許すも十字を許すな」kuji are permitted but not juji.
If you go beyond kuji and allow juji then you have “crossed the line.” Maybe you cross the line of life and death. You could end up facing 十王 Jū-ō  the ten judges of the dead.

In Buddhism, there are nine states from Hell to Bodhisattva. The highest level, the tenth level, is becoming Buddha. But the 仏 hotoke (Boddhisatvas) are the souls of the dead, to be commemorated by their descendants.

I toweled the sweat away and scribbled my notes after training. What did I learn that day?
  • Make yourself and your technique transparent;
  • Go to the line but don’t cross it;
  • Remain unmoved by life or death in that spot. 
This is the secret to 心中を突く也 Shinjū o tsuku nari,  piercing the heart of the enemy.…

The Hidden Kūkan for Bujinkan 無刀捕 Mutōdori

From Bujinkan Santa Monica by Michael

山田 記央 photo by Michael Glenn
It was the normal chaos at the Bujinkan Honbu dojo. The training had just ended, and everyone rushed to get their photos with Hatsumi Sensei. I rushed to my notebook.

I did this because Soke finished the class with a huge surprise for his teaching of 無刀捕 mutōdori. He showed us 空間を作る kūkan o tsukuru, or how to create space. So I scribbled a note about the hidden location for this opening before that secret disappeared into the night.

Earlier that day, I had gone into Tokyo to visit Norio Yamada-san. He makes 江戸手描提灯 Edo Tegaki Chōchin, Edo style hand painted paper lanterns. He called to say my order was ready to pick up.

It never occurred to me that there could be a connection to Soke’s teaching later that night. Hatsumi Sensei said,
“You’re not evading, 空間  浮かす Kūkan ukasu, you’re floating the opponent in the space.”
If you’ve ever held one of these paper lanterns, they feel like you’ve caught light and air itself as it glows softly in the night.

Hatsumi Sensei catches swords like that. My training partner, Tezuka-san, swung a metal blade at Soke. And this is when my surprise arrived. Soke told us,
“Don’t do this with 刀意識 Tō ishiki.”
This means don’t put your mind or consciousness with the sword. Remember this is 無刀 mutō and the sword is nothingness. Instead create or open up the kūkan and float your opponent in it.

But where is this kūkan? It's the space in the opponent’s mind or consciousness. The physical space is only so big, but the kūkan in the mind is infinite. Control that space and you have already won. Tezuka-san said it feels like Hatsumi Sensei catches him in between thoughts.

Soke nodded and said,
“You have to know those spaces, those openings, those little cracks…”
When Hatsumi Sensei creates kūkan between your own thoughts and floats you in that empty space, you are very exposed. Anyone who has attacked Hatsumi Sensei might relate to that blanked out feeling. Whenever he asks me to describe it to the other students in the Honbu dojo, I fold up like a paper lantern.…

Don’t Xerox The Master!

From Shiro Kuma by kumablog

img_20170502_211510.jpgEach class, Hatsumi sensei speaks about moving “Yukkuri”, slow. This is different from training slowly. (1)

Training slowly: Study level/acquisition/Dōjō
Moving slowly: high-level/reaction/fight

Training slowly is part of the learning process, reacting slowly deals with actual fighting. When you train slow, you create new mental/body patterns that will be useful in a real fight. When you move slowly in the encounter, you stop emitting intention. Therefore it is easier for you to read the opponent and to adjust your reactions naturally to Uke’s attacks. Many practitioners, high ranks included, misunderstand this difference. We end up mimicking Sensei’s slow movements. And as we don’t have his many years of practice, if we only copy his slow moves, it will get us killed.

For years now he has been saying that he is teaching for the Jūgodan not for beginners. What he shows is Ura, if you copy his movements, you stay at the Omote level. Buying a black belt in a Budo shop doesn’t make you a black belt. What Hatsumi sensei shows in class is a result, not a process. Do not mistake the end result for the path. Stop copying, you don’t have the level for that! Moving slowly comes after many years of moving fast. The “no-waza” state he has reached is beyond our grasp. We are heading towards it, but we are not there yet. It comes after years of repeating the forms of the waza. There’s no shortcut. As I said many times here, in order to forget the techniques, you have to learn them in the first place.

Yesterday, Hatsumi sensei insisted on moving slowly. This is the secret of high-level taijutsu, he was insisting on the “yukkuri”, but he added that to be successful, one has to keep moving. We did several sword attacks from behind similar to train the Sakki feeling. Each time, the sword could not touch him because he never stopped. Turning his back to Uke, Sensei didn’t wait, he kept walking, and the blade was avoiding him like by magic. Hatsumi sensei insisted that if you stop, then you give a fixed point in space that the attacker can use against you. What we do is effective taijutsu, even if we are moving slowly. Senō sensei often asks us to move out too late and to be hit. Then to move a little earlier, then again and again until we can move slowly enough, and at the right distance, and with the perfect timing to avoid the attack. If you never get hit during training how can you possibly know how to fight for real? The truth is that you cannot.

Instead of repeating Sensei’s movements, you should listen to what he says, and build a training progression that will teach you how to do it. If you are a Bujinkan high rank, hopefully, you have studied all the Waza. You come to Japan, not to learn Waza but to bring back home new insights and new feelings, that you will train in your Dōjō until your next trip to Tōkyō. You come to Japan to bring back homework.

If you want to improve your knowledge of Taijutsu, stop copying and begin to listen.
Don’t copy the Omote, the visible, it’s a dead-end.
Listen to him, it will teach you the Ura of things, and help you improve your movements.

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  1. ゆっくり, Yukkuri: slow, at ease, restful

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